ca. 1902
American
oil on canvas
Unframed: 22 1/8 × 28 1/16 in. (56.2 × 71.28 cm)
Framed: 32 1/4 × 38 3/4 × 2 1/2 in. (81.92 × 98.43 × 6.35 cm)
L2015.13.51
 Unlike the myriad tavern interiors that pervade the history of Western art, Sargent’s subject is more accurately described as a portrait of the effects of tone and brushstroke. Thickly painted passages on two of the women’s dresses—one in white, the other in red—immediately draw the viewer into the canvas. At the same time, a variety of poses allows for experimentation, from loosely defined bodies to more tightly rendered heads. As one critic was quick to recognize, Sargent’s economic use of paint fostered a sense of immediacy and vitality so transformative as to invoke the act of creation itself.
At upper right: John S. Sargent
The James W. and Frances Gibson McGlothlin Collection
Ormond/Kilmurray no. 1025.
"John Singer Sargent," Michael Altman Fine Art & Advisory Services, New York (October 24 - December 6, 2013) no. 19.

"American Art from the McGlothlin Collection" Virginia Museum of Fine Arts (1 May - 18 July 2010).

"Capturing Beauty: American Impressionist & Realist Paintings from the McGlothlin Collection," Virginia Museum of Fine Arts (19 May-18 September, 2005).

"Loan Exhibition," New York City Art Gallery, New York (Spring 1926) no. 35.

"Loan Exhibition of Works by the Late John S. Sargent," City Art Gallery, York, England (Spring, 1926) no. 278.

"Exhibition of Some Works by the Late John Singer Sargent, R.A.," Royal Academy, London (1926) no. 278.

New English Art Club, London (January 5 - February 14, 1925) no. 136.

"Re-Opening Exhibition," Grosvenor Galleries, London (February 1921) no. 17.

Grosse Berliner Kunst, Berlin (1909) as Trattoria.

Royal Institute of Oil Painters, London (1907).

"Paintings by some Members and Associates of the Royal Academy," Carfax & Co., London (January 1906) no. 17.

New English Art Club, London (April - May 1905) no. 5.

"Loan Exhibition of Sketches and Studies by J.S. Sargent R.A.," Carfax & Co., London (May - June, 1903) no. 6.
Rawles, Susan J. and Christopher C. Oliver. The James W. and Frances Gibson McGlothlin Collection of American Art, A Promise Fulfilled (Richmond: Virginia Museum of Fine Arts, 2015): pp. 90-91.

Yount, Sylvia. Private Passion, Public Promise, The James W. and Frances G. McGlothlin Collection of American Art (Richmond: Virginia Museum of Fine Arts, 2010): ill. p. 50.

Ormond, Richard and Elaine Kilmurray. John Singer Sargent, The Complete Paintings, Volume VI, Venetian Figures and Landscapes, 1898-1913 (New Haven: Yale University Press, 2009): no. 1025, pp. 65-66.

Curry, David Park. Capturing Beauty: American Impressionist & Realist Paintings from the McGlothlin Collection (Richmond: Virginia Museum of Fine Arts, 2005): pp. 38-39.

Adelson, Warren, Donna Janis, Elaine Kilmurray. Richard Ormond, and Elizabeth Oustinoff. Sargent Abroad: Figures and Landscapes (New York: Abbeville Press, 1997): pl. 17.

Mount, Charles Merrill. John Singer Sargent: A Biography (New York: W.W. Norton, 1955): p. 448.

Die Kunst für Alle, Berlin, 19 (1909): p. 365.

Brinton, C. "Sargent and His Art," Munsey Magazine (December 1906) no. 3, pp. 265-283.

"The Institute of Oil Painters," The Athenaeum (London) no. 40122 (October 27, 1906): pg. 522.

Some object records are not complete and do not reflect VMFA's full and current knowledge. VMFA makes routine updates as records are reviewed and enhanced.