Jane de Glehn in a Gondola 1904

Editor: Here we have John Singer Sargent’s watercolor, "Jane de Glehn in a Gondola," painted in 1904. It feels…unfinished, yet captures a moment with such vibrancy. What do you see in this piece, looking at it from your perspective? Curator: Well, first I think about Sargent’s position within the art world and how he was perceived by the establishment and the public. Sargent was both celebrated and criticized for his loose, impressionistic style. This work highlights that tension, doesn't it? He painted this ‘en plein air’ – outside – reflecting the late 19th century fascination with capturing fleeting moments. Notice how the gondola is placed, almost to be partially cut-off on the picture's sides. Editor: Yes, the quick, gestural brushstrokes create a sense of immediacy. Was plein air painting a popular technique at the time? Curator: Absolutely. It went hand-in-hand with Impressionism, as artists sought to depict modern life. But Sargent does something interesting here; it isn't about Venice, its setting. Instead it presents Venice as an impression on a journey. How might that have reflected on ideas of leisure at the turn of the century? Editor: I guess it shows Venice less as a place, and more as part of their social experience. How painting outdoors let them frame a place around people they know. Curator: Exactly. Sargent's watercolors like these were made to be more available for middle classes consumption. What does that tell us about the art market? Editor: That watercolor served a bigger function as the art was starting to circulate more widely in society. I hadn't considered that! Thank you for helping me understand this work, its artistic merits, and the culture behind it. Curator: My pleasure! Reflecting on how art becomes public is something always to bear in mind!