Summarize this content to 2000 words in 6 paragraphs in Arabic The 18-year-old wunderkind John Singer Sargent swept into Paris in 1874 on a powerful gust of talent. The boy showed up at the studio of the fashionable teacher Carolus-Duran and unpacked a portfolio that portended any number of brilliant artistic careers. \u201cI can see the slim youth\u2009.\u2009.\u2009. his arms entwined around a formidable roll of studies which, when disclosed to the eyes of the master, caused him to exclaim, \u2018You have studied much,\u2019\u201d a student later recalled. \u201cIt might have been said of him\u2009.\u2009.\u2009.\u2009\u2018He had a splendid past behind him.\u2019\u201dGuided by Carolus-Duran and excited by his own copies and experiments, Sargent promised to grow into one of the age\u2019s greatest landscapists \u2014 or academic virtuosos or impressionists or seekers of exoticism or painters of psychologically fraught domestic scenes. He looked backward to old masters without losing himself in nostalgia, and forward to young modernists, while remaining aloof from radical programmes. Whatever he aspired to, he did, magnificently.Sargent and Paris, the Met\u2019s spectacular show captures that sense of explosive possibility. It chronicles Sargent\u2019s decade in the city, when his horizon simultaneously expanded and narrowed. He tried everything, then focused on portraits, which was where the money was.Born in Florence in 1856, Sargent lived an itinerant existence with his American family, flitting, according to season and whim, to Nice, Paris, Milan, London, Salzburg, and Genoa. Only at 20 did he first visit his parents\u2019 homeland, the United States.Just as he straddled tradition and modernity, Sargent blended sensual brilliance with psychological depthThe constant in his peripatetic childhood was sketching. Sargent\u2019s mother, an avid amateur, insisted that each of her three children produce at least one drawing a day. (In July, the Met will present 26 never-seen watercolours by John\u2019s sister Emily.) The family immersed itself in the culture of each place, touring museums and monuments, mingling with living artists, and copying dead ones.Polyglot, worldly, sociable, and confident, Sargent used Paris as a base more than a home. Though he lived in the city that Walter Benjamin later called \u201cthe capital of the 19th century\u201d, he had little interest in its teeming new boulevards, its steaming railroad stations, or the bright crowds at the caf\u00e9-concerts. He preferred the alleys of Capri or the dusky backstreets of Venice, timeless screens on which to project his contemporary sophistication.The year after he enrolled in the \u00c9cole des Beaux-Arts, he painted \u201cWineglasses,\u201d an unpeopled, sun-dappled rural patio in summer where you can practically hear the laughter just outside the frame. Before the end of the decade, he had bottled the wild energy of a girl dancing on an island rooftop, the ferocity of Atlantic waves, the sensual violence of sunlight in Morocco, and the moodiness of a grey day on the Grand Canal. In \u201cThe Spanish Dance\u201d, a flamenco performer\u2019s pale bare arms shoot out into black night.And yet despite his frequent escapes, Paris \u2014 its social life and gaslit glare, its sheer concentration of artistic inventiveness \u2014 nourished his creativity until he abandoned it for London in 1886. He out-Degased Degas in his \u201cRehearsal of the Pasdeloup Orchestra at the Cirque d\u2019Hiver\u201d (1879) where the agitated brushstroke vibrates like a kettledrum\u2019s skin. \u201cIn the Luxembourg Garden\u201d captures a more subdued but still intense mood, a man\u2019s lit cigarette echoing the moon that glows over the flat expanse of gravel.The show\u2019s curator, Stephanie Herdrich, expertly traces how Sargent swerved, then swerved again, honing his craft and sensibility. He matched technique to content, even within a single canvas. In \u201cDr Pozzi at Home\u201d, an 1881 full-length portrait of a young surgeon, he slides from the smooth enamelled gloss of the face to the statuesque mass beneath a scarlet bathrobe, to a brushy froth of white linen at the neck and cuffs. He edges further towards abstraction in \u201cRamon Subercaseaux in a Gondola\u201d, depicting his friend in a patchwork of mottled blacks, shades of orange, and dazzling glints on water.Carolus nudged his prot\u00e9g\u00e9 to revisit the past, especially Vel\u00e1zquez and Hals. The lesson took hold. You can see Hals\u2019 influence in Sargent\u2019s double portrait of Fran\u00e7ois Flameng and Paul Helleu, where he freezes animation with just a trace of blur around the moustache. His 1882 masterpiece \u201cThe Daughters of Edward Darley Boit\u201d mirrors the psychological and spatial complexities of Velasquez\u2019s \u201cLas Meninas\u201d, as well as his rippling impasto. Sargent deploys sketchiness strategically, rendering some faces in detail yet leaving unfinished swaths swirling around a void.The two youngest girls open their gazes to the painter; a third sister lurks suspiciously at the edge of the gloom that has all but swallowed the fourth. Sargent respects their reticence even as he puts them on display. The result juxtaposes Victorian innocence with dark Freudian undercurrents. There\u2019s nothing cloying about these kids.Sargent understood children and refused to romanticise them. In an 1881 double portrait, a Parisian boy and his little sister (offspring of the essayist and playwright Edouard Pailleron) perch on a divan against a sunset-coloured ground. The girl stares at the viewer with hostility; critics remarked on her \u201cchildish defiance\u201d. Her brother leans forward with bored belligerence and barely concealed contempt. It\u2019s hard to detect any trace of feeling between the two.Just as he straddled tradition and modernity, Sargent blended sensual brilliance with psychological depth. \u201cMadame Paul Escudier\u201d fades into the gloom beside an open window, while sunlight falls through a whipped-cream curtain and on to the velvety blue of her dress. The subject herself almost melts into the buttery brushwork, so that she becomes at once seductive and demure, beseeching yet private.A flock of different Sargents \u2014 the connoisseur of fashion, the astute anthropologist, the student of ancient sculpture and Italian Renaissance technique, the bold adventurer \u2014 converge in \u201cMadame X\u201d. He saw in Virginie Gautreau\u2019s mermaid-like form and purplish pallor an emblem of Gilded Age decadence. She created herself through make-up and costume, and a display of studies demonstrates how hard Sargent worked to intensify the artifice. Her neck was slender, but not that slender, her profile not quite as knife-edged as he made it.Viewers at the 1884 Salon gawped at this alluring and sinister figure, whose theatricality \u2014 not to mention her d\u00e9colletage \u2014 provoked a scandal. He left Paris in part to escape a suddenly double-edged reputation and rebuild a less risqu\u00e9 business in London. But \u201cMadame X\u201d continued to fascinate. Years later, after Sargent\u2019s death, his friend Vernon Lee (aka Violet Paget) wrote admiringly of his predilection for \u201cthe bizarre and outlandish,\u201d a taste he shared with Baudelaire. Sargent, she wrote, \u201ctends to the love of all sorts of decaying art, openly approving of the faisand\u00e9, ie putrid\u201d. It\u2019s the miracle of his genius, and of the show, that this whiff of rot mixes so easily with the enduring freshness of his eye.To August 3, metmuseum.org<\/p>\n","protected":false},"excerpt":{"rendered":"
Summarize this content to 2000 words in 6 paragraphs in Arabic The 18-year-old wunderkind John Singer Sargent swept into Paris in 1874 on a powerful gust of talent. The boy showed up at the studio of the fashionable teacher Carolus-Duran and unpacked a portfolio that portended any number of brilliant artistic careers. \u201cI can see<\/p>\n","protected":false},"author":1,"featured_media":308490,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[65],"tags":[],"class_list":{"0":"post-308489","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-culture"},"_links":{"self":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/308489","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/comments?post=308489"}],"version-history":[{"count":1,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/308489\/revisions"}],"predecessor-version":[{"id":308491,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/308489\/revisions\/308491"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/media\/308490"}],"wp:attachment":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/media?parent=308489"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/categories?post=308489"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/tags?post=308489"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}