The Greater Journey: Americans in Paris (104 page)

397
“I am persuaded that the individual”:
Charteris,
John Sargent
, 236.

397
“more felicitous and interesting”:
Hirshler,
Sargent’s Daughters
, 130.

397
“the complete effect”:
Ibid., 96.

397
“the most talked-about painter in France”:
Ratcliff,
John Singer Sargent
, 67.

398
“especially attracted by the
bizarre
”:
Charteris,
John Sargent
, 250–51.

398
Born in New Orleans:
Ormond and Kilmurray,
John Singer Sargent: The Early Portraits
, Vol. I, 113.

398
Pierre Gautreau:
Ibid.

399
“thrilled by every movement”:
Simmons,
From Seven to Seventy: Memories of a Painter and Yankee
, 127.

399
“homage to her beauty”:
Charteris,
John Sargent
, 59.

399
Do you object to people:
Ormond and Kilmurray,
John Singer Sargent: The Early Portraits
, Vol. I, 113.

399
“still struggling with the unpaintable beauty”:
Charteris,
John Sargent
, 59.

399
“They have painters who carry off our medals”:
Davis,
Strapless: John Singer Sargent and the Fall of Madame X
, 94.

400
“His life is a pleasant life”:
FitzWilliam Sargent to Tom Sargent, November 16, 1883, Archives of American Art.

400
“a horrid state of anxiety”:
Ormond and Kilmurray,
John Singer Sargent: The Early Portraits
, Vol. I, 113.

401
When, during one sitting:
Davis,
Strapless
, 205.

401
One day I was dissatisfied with it:
Charteris,
John Sargent
, 60.

401
When Carolus-Duran came by for a look:
Ormond and Kilmurray,
John Singer Sargent: The Early Portraits
, Vol. I, 113.

401
“The only Franco-American product of importance”:
James,
Henry James Letters
, Vol. III, ed. Edel, 32.

401
“half-liked”:
Ibid., 43.

402
Walked up the Champs-Élysées:
Charteris,
John Sargent
, 61.

403
“I went home with him”:
Ibid.

403
The reviews were essentially of three kinds:
Ibid., 63.

403
a “caricature”: New York Times
, May 18, 1884.

403
“in a person of this type”:
Sidlauskas, “Painting Skin,”
American Art
, Vol. XV, no. 3 (Fall 2001), 20.

404
Years later, when he sold:
Charteris,
John Sargent
, 65.

404
Yet hard hit as he was:
Ibid., 63.

404
He left Paris in late May 1884:
Ormond and Kilmurray,
John Singer Sargent: The Early Portraits
, Vol. I, xv.

404
The first rivet of her skin of copper sheets:
Weisberger,
Statue of Liberty: The First Hundred Years
, 64–65.

405
The disassembly began in December:
Ibid., 74.

405
The pedestal on which Liberty:
Ibid., 82.

405
It was to stand on the Champ de Mars:
Jonnes,
Eiffel’s Tower
, 22.

405
“a project,” it was said:
Ibid., 23.

406
In the fall of 1886:
Ibid., 23–34.

407
We, writers, painters, sculptors, architects:
Ibid., 26.

407
“the commercial nation of America”:
Ibid., 27.

408
The chief problem to contend with:
Harriss,
The Tallest Tower
, 62.

408
“a metal spider web”:
Huysmans, “Le Fer,”
Certains
, 1889, excerpted from
L’Art Moderne/Certains
, 1975, 346–50. This was included in Cate,
The Eiffel Tower: A Tour de Force
, 34.

408
“a work of disconcerting”:
Ibid.

408
“coarseness”:
Ibid.

408
A professor of mathematics predicted:
Harriss,
The Tallest Tower
, 69.

408
By March 1889:
Ibid., 105–6.

409
“You will remember always”:
Ibid., 107.

409
“We both lost our hearts”:
Stevenson,
Selected Letters of Robert Louis Stevenson
, ed., Mehew, 273.

409
“the most intense creature”:
Ormond and Kilmurray,
John Singer Sargent: The Early Portraits
, Vol. I, 179.

409
“Anybody may have a ‘portrait’ ”:
Ibid., 167.

409
“Walking about and talking”:
Ibid., 141.

410
“John thinks of nothing else”:
Olson,
John Singer Sargent
, 153–54.

410
In September of 1887:
Ormond and Kilmurray,
John Singer Sargent: The Early Portraits
, Vol. I, xvi.

411
A group of aspiring young Mormon painters:
Gibbs,
Harvesting the Light
, 18.

411
“the highest possible development of talent”:
Ibid., 3.

411
Anna Klumpke, a tiny young woman:
Dwyer,
Anna Klumpke
, 3–5.

411
“Prepare yourselves to compete”:
Ibid., 19.

411
“The immense value”:
Beaux,
Background with Figures: Autobiography of Cecilia Beaux
, 174.

412
“I am painting sunlight”:
Weinberg,
Childe Hassam: American Impressionist
, 64.

412
“To go about Paris”:
Ibid., 60.

412
“The people I saw copying at the Louvre”:
Clara Belle Owen to her mother, November 12, 1880, Archives of American Art.

412
“The day was so short”:
Ibid., December 20, 1880.

412
“the privilege we have of working there”:
Ibid.

412
“I am too busy for that”:
Letter of Clara Belle Owen, June 13, 1881, Archives of American Art.

412
“Paris! We are here!”:
Robert Henri Diary, September 22, 1888, Archives of American Art.

413
“Dust and dirt are everywhere”:
Ibid., September 26, 1888.

413
“bungling attempts”:
Ibid., September 25, 1888.

413
“a pretty woman”:
Ibid., November 5, 1888.

413
“Made start—poor one”:
Ibid.

414
Since I have been here:
Ibid., December 25, 1888.

414
“Who would not be an art student in Paris?”:
Ibid., September 27, 1888.

414
Flags everywhere:
Ibid., May 6, 1889.

414
Some 150,000 Americans:
Jonnes,
Eiffel’s Tower
, 266.

414
“shed over Paris a shower of gold”:
Ibid., 265.

415
Thousands of electric bulbs:
Harriss,
The Tallest Tower
, 137.

415
The Palais des Machines:
Ibid., 129.

415
One of the many new productions:
Kimes,
The Star and the Laurel: The Centennial History of Daimler, Mercedes, and Benz
, 48.

416
“the unchecked brutality”: Reports of the U.S. Commissioners to the Universal Exposition of 1889
, 27.

416
portrait by Rosa Bonheur:
Jonnes,
Eiffel’s Tower
, 253.

416
By the close of the fair:
Harriss,
The Tallest Tower
, 116.

417
To the Americans who made the ascent:
Jonnes,
Eiffel’s Tower
, 158.

417
“The glory of Eiffel is in the magnitude”:
Ibid., 214.

417
Among the wealthy, prominent New Yorkers:
Weitzenhoffer,
The Havemeyers
, 56.

417
For Louisine a great part of the excitement:
Ibid., 58.

417
“indelibly graven”:
Ibid., 262.

417
“Her horse had slipped upon the pavement”:
Ibid., 60.

418
“What a man Courbet was!”:
Ibid.

418
With Mary on the “lookout”:
Ibid.

418
Since the death of her sister:
Mathews,
Mary Cassatt
, 171.

418
“Mame has got to work again”:
Mathews, ed.,
Cassatt and Her Circle: Selected Letters
, 166.