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Sargent may have first encountered the Spanish dancer known as La Carmencita (1868–1910) at the 1889 Exposition Universelle in Paris. In 1890, she took New York by storm, performing regularly at a music hall on Twenty-Third Street. She captivated Sargent, who called her a "bewildering superb creature." It was not long before he persuaded her to pose for him, though she was a restless and demanding sitter. Although Sargent made many studies of her performing, for this massive painting, he opted to portray her stationary. Her face, like that of several of Sargent’s models of the time, is rendered white and masklike from cosmetics, with arched eyebrows, hinting at a proud, even haughty presence. Sargent executed the portrait swiftly, leaving parts, like the arm, unfinished. Some critics condemned the portrait, perhaps because Sargent had represented a common music hall performer in such a monumental way.

La Carmencita - John Singer Sargent Painting

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La Carmencita - John Singer Sargent Painting Art Print
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La Carmencita - John Singer Sargent Painting Canvas Print
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La Carmencita - John Singer Sargent Painting Canvas Print
Rolled • 11x18 inches

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La Carmencita - John Singer Sargent Painting Canvas Framed Print
Framed • 8x12 inches

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La Carmencita - John Singer Sargent Painting Canvas Print
Wrapped • 8x12 inches

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La Carmencita - John Singer Sargent Painting Canvas Print
Rolled • 15x24 inches

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La Carmencita - John Singer Sargent Painting Canvas Print
Wrapped • 11x18 inches

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La Carmencita - John Singer Sargent Painting Canvas Framed Print
Framed • 11x18 inches

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La Carmencita - John Singer Sargent Painting Canvas Print
Rolled • 19x30 inches

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La Carmencita - John Singer Sargent Painting Canvas Print
Wrapped • 15x24 inches

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La Carmencita - John Singer Sargent Painting Canvas Framed Print
Framed • 15x24 inches

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La Carmencita - John Singer Sargent Painting Canvas Print
Wrapped • 19x30 inches

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La Carmencita - John Singer Sargent Painting Canvas Framed Print
Framed • 19x30 inches

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La Carmencita - John Singer Sargent Painting Framed Print
Framed with Mat • 8x12 inches

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La Carmencita - John Singer Sargent Painting Framed Print
Framed with Mat • 11x18 inches

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La Carmencita - John Singer Sargent Painting Framed Print
Framed with Mat • 15x24 inches

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La Carmencita - John Singer Sargent Painting Framed Print
Framed with Mat • 19x30 inches

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La Carmencita - John Singer Sargent Painting Poster
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La Carmencita - John Singer Sargent Painting Large Canvas Print
Rolled • 22x36 inches

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La Carmencita - John Singer Sargent Painting Large Canvas Print
Wrapped • 22x36 inches

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La Carmencita - John Singer Sargent Painting Large Framed Print
Framed With Mat • 22x36 inches

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Sargent may have first encountered the Spanish dancer known as La Carmencita (1868–1910) at the 1889 Exposition Universelle in Paris. In 1890, she took New York by storm, performing regularly at a music hall on Twenty-Third Street. She captivated Sargent, who called her a "bewildering superb creature." It was not long before he persuaded her to pose for him, though she was a restless and demanding sitter. Although Sargent made many studies of her performing, for this massive painting, he opted to portray her stationary. Her face, like that of several of Sargent’s models of the time, is rendered white and masklike from cosmetics, with arched eyebrows, hinting at a proud, even haughty presence. Sargent executed the portrait swiftly, leaving parts, like the arm, unfinished. Some critics condemned the portrait, perhaps because Sargent had represented a common music hall performer in such a monumental way.

John Singer Sargent was the most successful portrait painter of his era, as well as a gifted landscape painter and watercolorist. Sargent was born in Florence, Italy to American parents.   Sargent studied in Italy and Germany, and then in Paris under Emile Auguste Carolus-Duran.Sargent studied with Carolus-Duran, whose influence would be pivotal, from 1874-1878. Carolus-Duran's atelier was progressive, dispensing with the traditional academic approach which required careful drawing and underpainting, in favor of the alla prima method of working directly on the canvas with a loaded brush, derived from Diego Velázquez. It was an approach which relied on the proper placement of tones of paint.

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