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wk52bookreviews's review against another edition
3.0
This book left me with more questions than answers. I expected it to be a biography of a portrait rather than a biography of the Boit family. I enjoyed the book but was left wanting more.
caroparr's review against another edition
3.0
Read this in conjunction with our trip to Boston and the MFA. Sargent remains a bit of a mysterious character, but Hirshler has delved into the lives of the four girls and their circle and provided a richly detailed portrait of life in the James/Wharton era and beyond. Good preparation for our visit. 3.5
ikuo1000's review against another edition
3.0
After reading about this book in The Boston Globe, I was thrilled to be able to pick up a copy while visiting the Boston Museum of Fine Arts (MFA). It's not exactly a page-turner, but it certainly shed light on the painting, the artist, and the subjects.
As titled, the book is a biography of the painting, not the artist, and so we learn only as much about Sargent himself as is necessary to describe the context of the painting. The book includes many quotes from contemporary art critics, both positive and negative in response to this specific painting, and I was left wondering what Sargent might have thought of the mixed reactions.
I did learn quite a bit about the Paris Salon, the differences among French versus English versus American tastes in art, and the evolution of art appreciation. The book provides a thorough biography of the Boit family (whose daughters are portrayed in the painting), and I found it quaint that much of the personal information was gleaned from diary entries written by Bob Boit, the four girls' uncle. While the artistic analysis of the painting was educational, I most enjoyed the "Afterlife" chapters, which told the stories of what became of Ned and Isa Boit (the girls' parents), each of the girls, and the painting itself, whose provenance is thoroughly traced.
I was, however, sorely disappointed that the full provenance of the two large vases (that appear in the painting and which are displayed alongside the painting at the MFA) was not provided. The book describes their home in Edward Boit's Brookline (MA) house in 1903, and states that the vases stayed there until they were moved to the MFA in 1986. But if Edward Boit put his house on the market in 1911, and returned to Europe, then who owned the vases for the greater part of the century? And who decided to donate them to the MFA?
My only other complaint is that I wish all paintings that were referenced in the book were reprinted for reference, but I suppose there are copyright issues, and I guess it's not too much effort to look up paintings on the internet.
The final conclusion was beautifully written. The author suggests that "as with all masterpieces, the facts behind it can add to its allure" - and it's true. After reading Sargent's Daughters, I can't wait to visit the MFA again and view the painting in light of what I've read in this book.
As titled, the book is a biography of the painting, not the artist, and so we learn only as much about Sargent himself as is necessary to describe the context of the painting. The book includes many quotes from contemporary art critics, both positive and negative in response to this specific painting, and I was left wondering what Sargent might have thought of the mixed reactions.
I did learn quite a bit about the Paris Salon, the differences among French versus English versus American tastes in art, and the evolution of art appreciation. The book provides a thorough biography of the Boit family (whose daughters are portrayed in the painting), and I found it quaint that much of the personal information was gleaned from diary entries written by Bob Boit, the four girls' uncle. While the artistic analysis of the painting was educational, I most enjoyed the "Afterlife" chapters, which told the stories of what became of Ned and Isa Boit (the girls' parents), each of the girls, and the painting itself, whose provenance is thoroughly traced.
I was, however, sorely disappointed that the full provenance of the two large vases (that appear in the painting and which are displayed alongside the painting at the MFA) was not provided. The book describes their home in Edward Boit's Brookline (MA) house in 1903, and states that the vases stayed there until they were moved to the MFA in 1986. But if Edward Boit put his house on the market in 1911, and returned to Europe, then who owned the vases for the greater part of the century? And who decided to donate them to the MFA?
My only other complaint is that I wish all paintings that were referenced in the book were reprinted for reference, but I suppose there are copyright issues, and I guess it's not too much effort to look up paintings on the internet.
The final conclusion was beautifully written. The author suggests that "as with all masterpieces, the facts behind it can add to its allure" - and it's true. After reading Sargent's Daughters, I can't wait to visit the MFA again and view the painting in light of what I've read in this book.
andrearn's review against another edition
About to start the book- this is still one of my favorite paintings at the MFA!
kimjongev's review against another edition
2.0
Meh. A disjointed read that skips between John Singer Sargent and the Boit daughters (of which little is known) and their parents. There is little to tell about the girls, making it difficult to center an entire book around a painting of them.
classysmarta's review against another edition
3.0
It does a great job of telling the story of the painting but it was dragged out. More biography than I’d bargained for, but I didn’t need to know the critical reception of every painting Boit or Sargent painted within the established time period. I wish there was a bit more art historical analysis but the author did a really good job at what they set out to do.
farkle's review against another edition
4.0
I have always loved Sargent's paintings, especially the Daughters of Edward Boit, so I was a bit fearful that the book would take away from the work itself. Instead I was pleasantly surprised by the backstory of the family and the artist, the many social connections among artists of the day, and the glimpse back in time at Paris, Boston, and Newport. In fact, I found myself questioning how I ever ended up in Asian art when the American impressionists were so much closer to home. Ah... maybe in my next life...
rluo2294's review against another edition
Fascinating insight into a painting that I otherwise would have overlooked (esp within Sargent's larger body of work)
Must have nice to have been able to afford traveling, making art, living a life of leisure back in the day, though obviously the Boit family had its own struggles
Must have nice to have been able to afford traveling, making art, living a life of leisure back in the day, though obviously the Boit family had its own struggles
battspierre's review against another edition
4.0
Very interesting read. Hirshler did an excellent job in writing about the history of the people in and involved with this painting of the Boit Daughters.
kellswitch's review
5.0
This book ended up not being what I was expecting and I think all the more interesting for that.
I expected this book to be more about John Singer Sargent himself and his work on the titled painting but instead it focused far more on the Boit family, the culture the artist was working in and how it influenced his work and vice versa and the impact and life the painting had beyond it's creation.
It's easy to forget today how radical and controversial the art created by the Impressionists was in it's day and it was fascinating to look at this from such a different perspective.
I expected this book to be more about John Singer Sargent himself and his work on the titled painting but instead it focused far more on the Boit family, the culture the artist was working in and how it influenced his work and vice versa and the impact and life the painting had beyond it's creation.
It's easy to forget today how radical and controversial the art created by the Impressionists was in it's day and it was fascinating to look at this from such a different perspective.
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