Teenage inadequacies are explored in glamorous fashion through Sam de Jong’s energetic gaze in “Prince,” his highly stylized feature debut. De Jong’s background as a music video director are present in this narrative effort, but rather than overwhelmingly filling the frames with fast-paced and gratuitously vibrant imagery, this sensibilities enhance the film with vivid hues and fantasy-like elements. This is a coming-of-age story that contains overly joyful sequences and utterly crude outburst of violence blended in an intoxicating visual potion.
Born to a Dutch mother and a Moroccan father, Ayoub is a young boy concerned with the perennial yearnings of a 15-year-old: being cool, hanging out with his friends, and being noticed by the girl he likes. But when a group of older bullies interferes with his self-improvement plans, out hero joins the dark side. Once the commoner is crowned by a murderous kingpin, his first royal act will be to take revenge on his abusers.
In a recent conversation with De Jong, he talked to us about his decision-making process regarding the visual DNA of the film, about working with fresh-faced actor Ayoub Elasri, and the synthetic escapes that he wanted his frames to represent.
"Prince" is now playing in theaters and available through digital platforms.
Aguilar: "Prince" is a very unique take on the coming-of-age film, did you want to use stylistic choices to create a different and more dynamic version of what it means to grow up?
Sam de Jong: I didn’t necessarily want to make something different. I tried to make a film about a 15-year-old growing up now in the Western world. It’s set in Amsterdam but I think it’s quite universal. He sort of pursues this dream of getting more respect and looking like an icon. He wants to change his identity and as that gradually happens the film stylistically makes the same transformation. Stylistically I wanted to have the look of the film relate to what he is experiencing, so when he is getting the new shoes and he feels super confident about himself, we visually emphasized that. That’s sort of why the goes through different genres and different textures.
Aguilar: It feels like Ayoub is at an intersection within Dutch society because is of Moroccan descent. Is this dual identity something that you find interesting?
Sam de Jong: Yeah, he is Moroccan, but in the Netherlands there are so many kids from different ethnicities that it hardly even matters whether he is Moroccan or not. I don’t think the film is about his ethnicity but more about his longings, which are very universal.
Aguilar: You talked about how the film evolves with the character and there is definitely an interesting blend between the lighthearted touches and the gritty undertones you include. Would you call it a dark fantasy?
Sam de Jong: It has an overly happy ending - almost too romantic in a way - and I would like the audience to leave the movie feeling invigorated and vibrant, but at the same time you might wonder if it's possible because it’s not a realistic ending. I hope that it will encourage people to reflect on what the chances are for a kid like Ayoub growing up in this place. Whether he would really have the possibility to find someone like Laura or whether he would be more likely to get stuck in grittiness of this world, because I think that happens more often in real life.
Aguilar: Tell me about your decision-making process regardign the visual style and the color palette in the film, from the clothing, to the spaces, and of course the amazing Lamborghini.
Sam de Jong: The cinematographer and the production designer came up with blue and yellow as the main colors for the film. Yellow was obvious because the overall tone of the neighborhood is very yellow All the doors in the neighborhood were red so we painted them all blue. I also shot a short film there in preparation. The whole world sort of feels a bit like a desert and it’s very hot, there is nowhere to escape to. Kalpa, the geeky kingpin with the purple Lamborghini, comes in to turn his world upside down. I really wanted that Lamborghini to represent something completely different, like a different world, a sort of synthetic escape from his life. I wanted that Lamborghini to complete contrast with the neighborhood he is living in. That’s why I wanted it to be purple.
Aguilar: The scene where Ayoub is "crowned" feels like a powerful transformation. He is coming into his own.
Sam de Jong: Yes, he is basically transforming into Kalpa, the bad guy who represents everything devilish.
Aguilar: There is also several emotional sequences between Ayoub and his father. He wants to save him but he can’t. Where did this doomed character come from?
Sam de Jong: I always saw him as someone who left Morocco to pursue an artistic career. He is an artist who never managed to settle or establish himself in the Netherlands, whereas Ayoub does that in the end. His father never did and he is stuck in his own reminiscence of his ambitions. There are a few scenes where he mentions a painting, and it’s a painting by James McNeill Whistler called “Snow in Chelsea." The father identifies himself with the figure in that painting, which is like this romantic painting of a lonely guy stuck in a world covered in snow. That’s his way of trying to build a relationship with Ayoub, but Ayoub doesn’t understand that, in no way do they connect. His father is basically more of a dream. He is already gone. He can't be saved, but at the same time he gets in the way of Ayoub growing up. Ironically enough, when he dies is Ayoub who grows.
Aguilar: How different is it for you as a director to work with established actors in comparison to working with Ayoub and the rest of the young cast? Is there a great divide?
Sam de Jong: Yes , it’s different. They are two completely different approaches. With the established actors you discus the character and you really build a character together with them. It’s sort of an equal creative process. But with Ayoub we didn’t talk about his character, we would just fight, laugh, make jokes and make sure he got into the scene whenever he had to. But it’s nice because Ayoub is playing Ayoub in the movie, the character is very close who he really is. For me that delivered a certain realism to the world we were creating, because on set these young actors were being themselves. When I said cut they didn't stop being who they are. It’s an interesting process.
Aguilar: Are there any correlations between what you experienced growing up and what Ayoub goes through in the film?
Sam de Jong: At that age I was also obsessed with getting new shoes and stuff like that. Thematically I really related to the story and also the moral of the film, which is about growing up and realizing you don’t need to externalize your problems but rather accept who you truly are and that good things will come from that. That’s what I discovered at that age and I wanted to incorporate it into this movie.
Aguilar: Musically the film also very synthetic and evocative. Tell me about working with your composer to add this other layer of originality into the film via its soundtrack.
Sam de Jong: I really like the sound of the composer Palmbomen when I heard his music, and that’s why I asked him to work with me and collaborate on this. He really liked that. His sound is influences by the 80s and 90s, I’m from the 80s and in a way maybe it’s a bit of a nostalgic thing for me. It's something that takes place now but it’s also part of my childhood. That’s probably why I liked the sound of this particular music. It’s more of an intuitive thing. I wanted to create a unique world. It would be more obvious to use Hip Hop, because these kids listen to Hip Hop, but then it would too realistic and I wanted to create my own world with specific songs that aren’t well known. All the source music in there are obscure tracks that Palmbomen found somewhere and that we could use for the film. It was a way to create our own environment visually and in sound.
Aguilar: Has "Prince" premiered in the Netherlands? What was the reception like there?
Sam de Jong: Yeah, it premiered in June and it went very well. The reception was incredible. We got so many positive responses and wonderful reviews. People really welcomed the movie, which is great. For my first film to have such a reception, it boosts my confidence for my next project.
Aguilar: Now that "Prince" has opened back home and in other places around the world, are you thinking or working on any new projects?
Sam de Jong: Yes, I’m now working on a new film about a girl growing up in foster care and who is pursing a career as a singer. I’m in the process of writing that.
Aguilar: Lastly, I want to know, since the film leaves us with this uplifting and romantic idea of what Ayoub's life will be, what do you think actually happens to Ayoub after the end of the film? What's his future like?
Sam de Jong: I think that after two weeks Laura breaks up with him because he is too young, and one month later he decides to become Kalpa's disciple, and in two years he is in jail.
Born to a Dutch mother and a Moroccan father, Ayoub is a young boy concerned with the perennial yearnings of a 15-year-old: being cool, hanging out with his friends, and being noticed by the girl he likes. But when a group of older bullies interferes with his self-improvement plans, out hero joins the dark side. Once the commoner is crowned by a murderous kingpin, his first royal act will be to take revenge on his abusers.
In a recent conversation with De Jong, he talked to us about his decision-making process regarding the visual DNA of the film, about working with fresh-faced actor Ayoub Elasri, and the synthetic escapes that he wanted his frames to represent.
"Prince" is now playing in theaters and available through digital platforms.
Aguilar: "Prince" is a very unique take on the coming-of-age film, did you want to use stylistic choices to create a different and more dynamic version of what it means to grow up?
Sam de Jong: I didn’t necessarily want to make something different. I tried to make a film about a 15-year-old growing up now in the Western world. It’s set in Amsterdam but I think it’s quite universal. He sort of pursues this dream of getting more respect and looking like an icon. He wants to change his identity and as that gradually happens the film stylistically makes the same transformation. Stylistically I wanted to have the look of the film relate to what he is experiencing, so when he is getting the new shoes and he feels super confident about himself, we visually emphasized that. That’s sort of why the goes through different genres and different textures.
Aguilar: It feels like Ayoub is at an intersection within Dutch society because is of Moroccan descent. Is this dual identity something that you find interesting?
Sam de Jong: Yeah, he is Moroccan, but in the Netherlands there are so many kids from different ethnicities that it hardly even matters whether he is Moroccan or not. I don’t think the film is about his ethnicity but more about his longings, which are very universal.
Aguilar: You talked about how the film evolves with the character and there is definitely an interesting blend between the lighthearted touches and the gritty undertones you include. Would you call it a dark fantasy?
Sam de Jong: It has an overly happy ending - almost too romantic in a way - and I would like the audience to leave the movie feeling invigorated and vibrant, but at the same time you might wonder if it's possible because it’s not a realistic ending. I hope that it will encourage people to reflect on what the chances are for a kid like Ayoub growing up in this place. Whether he would really have the possibility to find someone like Laura or whether he would be more likely to get stuck in grittiness of this world, because I think that happens more often in real life.
Aguilar: Tell me about your decision-making process regardign the visual style and the color palette in the film, from the clothing, to the spaces, and of course the amazing Lamborghini.
Sam de Jong: The cinematographer and the production designer came up with blue and yellow as the main colors for the film. Yellow was obvious because the overall tone of the neighborhood is very yellow All the doors in the neighborhood were red so we painted them all blue. I also shot a short film there in preparation. The whole world sort of feels a bit like a desert and it’s very hot, there is nowhere to escape to. Kalpa, the geeky kingpin with the purple Lamborghini, comes in to turn his world upside down. I really wanted that Lamborghini to represent something completely different, like a different world, a sort of synthetic escape from his life. I wanted that Lamborghini to complete contrast with the neighborhood he is living in. That’s why I wanted it to be purple.
Aguilar: The scene where Ayoub is "crowned" feels like a powerful transformation. He is coming into his own.
Sam de Jong: Yes, he is basically transforming into Kalpa, the bad guy who represents everything devilish.
Aguilar: There is also several emotional sequences between Ayoub and his father. He wants to save him but he can’t. Where did this doomed character come from?
Sam de Jong: I always saw him as someone who left Morocco to pursue an artistic career. He is an artist who never managed to settle or establish himself in the Netherlands, whereas Ayoub does that in the end. His father never did and he is stuck in his own reminiscence of his ambitions. There are a few scenes where he mentions a painting, and it’s a painting by James McNeill Whistler called “Snow in Chelsea." The father identifies himself with the figure in that painting, which is like this romantic painting of a lonely guy stuck in a world covered in snow. That’s his way of trying to build a relationship with Ayoub, but Ayoub doesn’t understand that, in no way do they connect. His father is basically more of a dream. He is already gone. He can't be saved, but at the same time he gets in the way of Ayoub growing up. Ironically enough, when he dies is Ayoub who grows.
Aguilar: How different is it for you as a director to work with established actors in comparison to working with Ayoub and the rest of the young cast? Is there a great divide?
Sam de Jong: Yes , it’s different. They are two completely different approaches. With the established actors you discus the character and you really build a character together with them. It’s sort of an equal creative process. But with Ayoub we didn’t talk about his character, we would just fight, laugh, make jokes and make sure he got into the scene whenever he had to. But it’s nice because Ayoub is playing Ayoub in the movie, the character is very close who he really is. For me that delivered a certain realism to the world we were creating, because on set these young actors were being themselves. When I said cut they didn't stop being who they are. It’s an interesting process.
Aguilar: Are there any correlations between what you experienced growing up and what Ayoub goes through in the film?
Sam de Jong: At that age I was also obsessed with getting new shoes and stuff like that. Thematically I really related to the story and also the moral of the film, which is about growing up and realizing you don’t need to externalize your problems but rather accept who you truly are and that good things will come from that. That’s what I discovered at that age and I wanted to incorporate it into this movie.
Aguilar: Musically the film also very synthetic and evocative. Tell me about working with your composer to add this other layer of originality into the film via its soundtrack.
Sam de Jong: I really like the sound of the composer Palmbomen when I heard his music, and that’s why I asked him to work with me and collaborate on this. He really liked that. His sound is influences by the 80s and 90s, I’m from the 80s and in a way maybe it’s a bit of a nostalgic thing for me. It's something that takes place now but it’s also part of my childhood. That’s probably why I liked the sound of this particular music. It’s more of an intuitive thing. I wanted to create a unique world. It would be more obvious to use Hip Hop, because these kids listen to Hip Hop, but then it would too realistic and I wanted to create my own world with specific songs that aren’t well known. All the source music in there are obscure tracks that Palmbomen found somewhere and that we could use for the film. It was a way to create our own environment visually and in sound.
Aguilar: Has "Prince" premiered in the Netherlands? What was the reception like there?
Sam de Jong: Yeah, it premiered in June and it went very well. The reception was incredible. We got so many positive responses and wonderful reviews. People really welcomed the movie, which is great. For my first film to have such a reception, it boosts my confidence for my next project.
Aguilar: Now that "Prince" has opened back home and in other places around the world, are you thinking or working on any new projects?
Sam de Jong: Yes, I’m now working on a new film about a girl growing up in foster care and who is pursing a career as a singer. I’m in the process of writing that.
Aguilar: Lastly, I want to know, since the film leaves us with this uplifting and romantic idea of what Ayoub's life will be, what do you think actually happens to Ayoub after the end of the film? What's his future like?
Sam de Jong: I think that after two weeks Laura breaks up with him because he is too young, and one month later he decides to become Kalpa's disciple, and in two years he is in jail.
- 8/22/2015
- by Carlos Aguilar
- Sydney's Buzz
Hey, who remembers the 1997 American-made Mr. Bean movie? Ok, I see that 99% of you have gone silent (By the way, yes, we here at Mediaite can see you through your computer screens. Most of you don't wear pants). Well, then I will have to explain. In the movie, there is a sequence where Mr. Bean has to guard the famous 1871 portrait of James McNeill Whistler's mother. Unfortunately, in all his Beaniness, Mr. Bean stains the portrait's face, a mistake he tries to correct by hurriedly doodling a terrifying smiley face in its place.
- 8/23/2012
- by Jon Bershad
- Mediaite - TV
New York–based artist Mark Beard has devoted the last two decades to exploring and amassing the work of Bruce Sargeant (1898–1938), a painter whose work idealized and celebrated the beauty of the male form. Had Sargeant not met a tragic and unexpected end in a wrestling accident, he may have gone on to the heights now enjoyed by artists such as James McNeill Whistler; instead, his oeuvre remained hidden for years and is only now being brought to light, with works still being discovered. Prized in elite gallery circles and salons in Europe and the United States, Sargeant’s work has never been featured in a major art-historical survey until now. His subtly toned oil paintings of young men engaged in sports and other leisure activities are reminiscent of classic figure painting, highlighting his beaux arts training, yet their gentle elegance continues to speak to contemporary audiences through Abercrombie & Fitch...
- 10/16/2010
- The Advocate
New York–based artist Mark Beard has devoted the last two decades to exploring and amassing the work of Bruce Sargeant (1898–1938), a painter whose work idealized and celebrated the beauty of the male form. Had Sargeant not met a tragic and unexpected end in a wrestling accident, he may have gone on to the heights now enjoyed by artists such as James McNeill Whistler; instead, his oeuvre remained hidden for years and is only now being brought to light, with works still being discovered. Prized in elite gallery circles and salons in Europe and the United States, Sargeant’s work has never been featured in a major art-historical survey until now. His subtly toned oil paintings of young men engaged in sports and other leisure activities are reminiscent of classic figure painting, highlighting his beaux arts training, yet their gentle elegance continues to speak to contemporary audiences through Abercrombie & Fitch...
- 10/16/2010
- The Advocate
New York–based artist Mark Beard has devoted the last two decades to exploring and amassing the work of Bruce Sargeant (1898–1938), a painter whose work idealized and celebrated the beauty of the male form. Had Sargeant not met a tragic and unexpected end in a wrestling accident, he may have gone on to the heights now enjoyed by artists such as James McNeill Whistler; instead, his oeuvre remained hidden for years and is only now being brought to light, with works still being discovered. Prized in elite gallery circles and salons in Europe and the United States, Sargeant’s work has never been featured in a major art-historical survey until now. His subtly toned oil paintings of young men engaged in sports and other leisure activities are reminiscent of classic figure painting, highlighting his beaux arts training, yet their gentle elegance continues to speak to contemporary audiences through Abercrombie & Fitch...
- 10/16/2010
- The Advocate
New York–based artist Mark Beard has devoted the last two decades to exploring and amassing the work of Bruce Sargeant (1898–1938), a painter whose work idealized and celebrated the beauty of the male form. Had Sargeant not met a tragic and unexpected end in a wrestling accident, he may have gone on to the heights now enjoyed by artists such as James McNeill Whistler; instead, his oeuvre remained hidden for years and is only now being brought to light, with works still being discovered. Prized in elite gallery circles and salons in Europe and the United States, Sargeant’s work has never been featured in a major art-historical survey until now. His subtly toned oil paintings of young men engaged in sports and other leisure activities are reminiscent of classic figure painting, highlighting his beaux arts training, yet their gentle elegance continues to speak to contemporary audiences through Abercrombie & Fitch...
- 10/16/2010
- The Advocate
New York–based artist Mark Beard has devoted the last two decades to exploring and amassing the work of Bruce Sargeant (1898–1938), a painter whose work idealized and celebrated the beauty of the male form. Had Sargeant not met a tragic and unexpected end in a wrestling accident, he may have gone on to the heights now enjoyed by artists such as James McNeill Whistler; instead, his oeuvre remained hidden for years and is only now being brought to light, with works still being discovered. Prized in elite gallery circles and salons in Europe and the United States, Sargeant’s work has never been featured in a major art-historical survey until now. His subtly toned oil paintings of young men engaged in sports and other leisure activities are reminiscent of classic figure painting, highlighting his beaux arts training, yet their gentle elegance continues to speak to contemporary audiences through Abercrombie & Fitch...
- 10/16/2010
- The Advocate
New York–based artist Mark Beard has devoted the last two decades to exploring and amassing the work of Bruce Sargeant (1898–1938), a painter whose work idealized and celebrated the beauty of the male form. Had Sargeant not met a tragic and unexpected end in a wrestling accident, he may have gone on to the heights now enjoyed by artists such as James McNeill Whistler; instead, his oeuvre remained hidden for years and is only now being brought to light, with works still being discovered. Prized in elite gallery circles and salons in Europe and the United States, Sargeant’s work has never been featured in a major art-historical survey until now. His subtly toned oil paintings of young men engaged in sports and other leisure activities are reminiscent of classic figure painting, highlighting his beaux arts training, yet their gentle elegance continues to speak to contemporary audiences through Abercrombie & Fitch...
- 10/16/2010
- The Advocate
New York–based artist Mark Beard has devoted the last two decades to exploring and amassing the work of Bruce Sargeant (1898–1938), a painter whose work idealized and celebrated the beauty of the male form. Had Sargeant not met a tragic and unexpected end in a wrestling accident, he may have gone on to the heights now enjoyed by artists such as James McNeill Whistler; instead, his oeuvre remained hidden for years and is only now being brought to light, with works still being discovered. Prized in elite gallery circles and salons in Europe and the United States, Sargeant’s work has never been featured in a major art-historical survey until now. His subtly toned oil paintings of young men engaged in sports and other leisure activities are reminiscent of classic figure painting, highlighting his beaux arts training, yet their gentle elegance continues to speak to contemporary audiences through Abercrombie & Fitch...
- 10/16/2010
- The Advocate
New York–based artist Mark Beard has devoted the last two decades to exploring and amassing the work of Bruce Sargeant (1898–1938), a painter whose work idealized and celebrated the beauty of the male form. Had Sargeant not met a tragic and unexpected end in a wrestling accident, he may have gone on to the heights now enjoyed by artists such as James McNeill Whistler; instead, his oeuvre remained hidden for years and is only now being brought to light, with works still being discovered. Prized in elite gallery circles and salons in Europe and the United States, Sargeant’s work has never been featured in a major art-historical survey until now. His subtly toned oil paintings of young men engaged in sports and other leisure activities are reminiscent of classic figure painting, highlighting his beaux arts training, yet their gentle elegance continues to speak to contemporary audiences through Abercrombie & Fitch...
- 10/16/2010
- The Advocate
New York–based artist Mark Beard has devoted the last two decades to exploring and amassing the work of Bruce Sargeant (1898–1938), a painter whose work idealized and celebrated the beauty of the male form. Had Sargeant not met a tragic and unexpected end in a wrestling accident, he may have gone on to the heights now enjoyed by artists such as James McNeill Whistler; instead, his oeuvre remained hidden for years and is only now being brought to light, with works still being discovered. Prized in elite gallery circles and salons in Europe and the United States, Sargeant’s work has never been featured in a major art-historical survey until now. His subtly toned oil paintings of young men engaged in sports and other leisure activities are reminiscent of classic figure painting, highlighting his beaux arts training, yet their gentle elegance continues to speak to contemporary audiences through Abercrombie & Fitch...
- 10/16/2010
- The Advocate
New York–based artist Mark Beard has devoted the last two decades to exploring and amassing the work of Bruce Sargeant (1898–1938), a painter whose work idealized and celebrated the beauty of the male form. Had Sargeant not met a tragic and unexpected end in a wrestling accident, he may have gone on to the heights now enjoyed by artists such as James McNeill Whistler; instead, his oeuvre remained hidden for years and is only now being brought to light, with works still being discovered. Prized in elite gallery circles and salons in Europe and the United States, Sargeant’s work has never been featured in a major art-historical survey until now. His subtly toned oil paintings of young men engaged in sports and other leisure activities are reminiscent of classic figure painting, highlighting his beaux arts training, yet their gentle elegance continues to speak to contemporary audiences through Abercrombie & Fitch...
- 10/16/2010
- The Advocate
New York–based artist Mark Beard has devoted the last two decades to exploring and amassing the work of Bruce Sargeant (1898–1938), a painter whose work idealized and celebrated the beauty of the male form. Had Sargeant not met a tragic and unexpected end in a wrestling accident, he may have gone on to the heights now enjoyed by artists such as James McNeill Whistler; instead, his oeuvre remained hidden for years and is only now being brought to light, with works still being discovered. Prized in elite gallery circles and salons in Europe and the United States, Sargeant’s work has never been featured in a major art-historical survey until now. His subtly toned oil paintings of young men engaged in sports and other leisure activities are reminiscent of classic figure painting, highlighting his beaux arts training, yet their gentle elegance continues to speak to contemporary audiences through Abercrombie & Fitch...
- 10/16/2010
- The Advocate
New York–based artist Mark Beard has devoted the last two decades to exploring and amassing the work of Bruce Sargeant (1898–1938), a painter whose work idealized and celebrated the beauty of the male form. Had Sargeant not met a tragic and unexpected end in a wrestling accident, he may have gone on to the heights now enjoyed by artists such as James McNeill Whistler; instead, his oeuvre remained hidden for years and is only now being brought to light, with works still being discovered. Prized in elite gallery circles and salons in Europe and the United States, Sargeant’s work has never been featured in a major art-historical survey until now. His subtly toned oil paintings of young men engaged in sports and other leisure activities are reminiscent of classic figure painting, highlighting his beaux arts training, yet their gentle elegance continues to speak to contemporary audiences through Abercrombie & Fitch...
- 10/16/2010
- The Advocate
New York–based artist Mark Beard has devoted the last two decades to exploring and amassing the work of Bruce Sargeant (1898–1938), a painter whose work idealized and celebrated the beauty of the male form. Had Sargeant not met a tragic and unexpected end in a wrestling accident, he may have gone on to the heights now enjoyed by artists such as James McNeill Whistler; instead, his oeuvre remained hidden for years and is only now being brought to light, with works still being discovered. Prized in elite gallery circles and salons in Europe and the United States, Sargeant’s work has never been featured in a major art-historical survey until now. His subtly toned oil paintings of young men engaged in sports and other leisure activities are reminiscent of classic figure painting, highlighting his beaux arts training, yet their gentle elegance continues to speak to contemporary audiences through Abercrombie & Fitch...
- 10/16/2010
- The Advocate
New York–based artist Mark Beard has devoted the last two decades to exploring and amassing the work of Bruce Sargeant (1898–1938), a painter whose work idealized and celebrated the beauty of the male form. Had Sargeant not met a tragic and unexpected end in a wrestling accident, he may have gone on to the heights now enjoyed by artists such as James McNeill Whistler; instead, his oeuvre remained hidden for years and is only now being brought to light, with works still being discovered. Prized in elite gallery circles and salons in Europe and the United States, Sargeant’s work has never been featured in a major art-historical survey until now. His subtly toned oil paintings of young men engaged in sports and other leisure activities are reminiscent of classic figure painting, highlighting his beaux arts training, yet their gentle elegance continues to speak to contemporary audiences through Abercrombie & Fitch...
- 10/16/2010
- The Advocate
New York–based artist Mark Beard has devoted the last two decades to exploring and amassing the work of Bruce Sargeant (1898–1938), a painter whose work idealized and celebrated the beauty of the male form. Had Sargeant not met a tragic and unexpected end in a wrestling accident, he may have gone on to the heights now enjoyed by artists such as James McNeill Whistler; instead, his oeuvre remained hidden for years and is only now being brought to light, with works still being discovered. Prized in elite gallery circles and salons in Europe and the United States, Sargeant’s work has never been featured in a major art-historical survey until now. His subtly toned oil paintings of young men engaged in sports and other leisure activities are reminiscent of classic figure painting, highlighting his beaux arts training, yet their gentle elegance continues to speak to contemporary audiences through Abercrombie & Fitch...
- 10/16/2010
- The Advocate
New York–based artist Mark Beard has devoted the last two decades to exploring and amassing the work of Bruce Sargeant (1898–1938), a painter whose work idealized and celebrated the beauty of the male form. Had Sargeant not met a tragic and unexpected end in a wrestling accident, he may have gone on to the heights now enjoyed by artists such as James McNeill Whistler; instead, his oeuvre remained hidden for years and is only now being brought to light, with works still being discovered. Prized in elite gallery circles and salons in Europe and the United States, Sargeant’s work has never been featured in a major art-historical survey until now. His subtly toned oil paintings of young men engaged in sports and other leisure activities are reminiscent of classic figure painting, highlighting his beaux arts training, yet their gentle elegance continues to speak to contemporary audiences through Abercrombie & Fitch...
- 10/16/2010
- The Advocate
New York–based artist Mark Beard has devoted the last two decades to exploring and amassing the work of Bruce Sargeant (1898–1938), a painter whose work idealized and celebrated the beauty of the male form. Had Sargeant not met a tragic and unexpected end in a wrestling accident, he may have gone on to the heights now enjoyed by artists such as James McNeill Whistler; instead, his oeuvre remained hidden for years and is only now being brought to light, with works still being discovered. Prized in elite gallery circles and salons in Europe and the United States, Sargeant’s work has never been featured in a major art-historical survey until now. His subtly toned oil paintings of young men engaged in sports and other leisure activities are reminiscent of classic figure painting, highlighting his beaux arts training, yet their gentle elegance continues to speak to contemporary audiences through Abercrombie & Fitch...
- 10/16/2010
- The Advocate
New York–based artist Mark Beard has devoted the last two decades to exploring and amassing the work of Bruce Sargeant (1898–1938), a painter whose work idealized and celebrated the beauty of the male form. Had Sargeant not met a tragic and unexpected end in a wrestling accident, he may have gone on to the heights now enjoyed by artists such as James McNeill Whistler; instead, his oeuvre remained hidden for years and is only now being brought to light, with works still being discovered. Prized in elite gallery circles and salons in Europe and the United States, Sargeant’s work has never been featured in a major art-historical survey until now. His subtly toned oil paintings of young men engaged in sports and other leisure activities are reminiscent of classic figure painting, highlighting his beaux arts training, yet their gentle elegance continues to speak to contemporary audiences through Abercrombie & Fitch...
- 10/16/2010
- The Advocate
New York–based artist Mark Beard has devoted the last two decades to exploring and amassing the work of Bruce Sargeant (1898–1938), a painter whose work idealized and celebrated the beauty of the male form. Had Sargeant not met a tragic and unexpected end in a wrestling accident, he may have gone on to the heights now enjoyed by artists such as James McNeill Whistler; instead, his oeuvre remained hidden for years and is only now being brought to light, with works still being discovered. Prized in elite gallery circles and salons in Europe and the United States, Sargeant’s work has never been featured in a major art-historical survey until now. His subtly toned oil paintings of young men engaged in sports and other leisure activities are reminiscent of classic figure painting, highlighting his beaux arts training, yet their gentle elegance continues to speak to contemporary audiences through Abercrombie & Fitch...
- 10/16/2010
- The Advocate
New York–based artist Mark Beard has devoted the last two decades to exploring and amassing the work of Bruce Sargeant (1898–1938), a painter whose work idealized and celebrated the beauty of the male form. Had Sargeant not met a tragic and unexpected end in a wrestling accident, he may have gone on to the heights now enjoyed by artists such as James McNeill Whistler; instead, his oeuvre remained hidden for years and is only now being brought to light, with works still being discovered. Prized in elite gallery circles and salons in Europe and the United States, Sargeant’s work has never been featured in a major art-historical survey until now. His subtly toned oil paintings of young men engaged in sports and other leisure activities are reminiscent of classic figure painting, highlighting his beaux arts training, yet their gentle elegance continues to speak to contemporary audiences through Abercrombie & Fitch...
- 10/16/2010
- The Advocate
New York–based artist Mark Beard has devoted the last two decades to exploring and amassing the work of Bruce Sargeant (1898–1938), a painter whose work idealized and celebrated the beauty of the male form. Had Sargeant not met a tragic and unexpected end in a wrestling accident, he may have gone on to the heights now enjoyed by artists such as James McNeill Whistler; instead, his oeuvre remained hidden for years and is only now being brought to light, with works still being discovered. Prized in elite gallery circles and salons in Europe and the United States, Sargeant’s work has never been featured in a major art-historical survey until now. His subtly toned oil paintings of young men engaged in sports and other leisure activities are reminiscent of classic figure painting, highlighting his beaux arts training, yet their gentle elegance continues to speak to contemporary audiences through Abercrombie & Fitch...
- 10/16/2010
- The Advocate
New York–based artist Mark Beard has devoted the last two decades to exploring and amassing the work of Bruce Sargeant (1898–1938), a painter whose work idealized and celebrated the beauty of the male form. Had Sargeant not met a tragic and unexpected end in a wrestling accident, he may have gone on to the heights now enjoyed by artists such as James McNeill Whistler; instead, his oeuvre remained hidden for years and is only now being brought to light, with works still being discovered. Prized in elite gallery circles and salons in Europe and the United States, Sargeant’s work has never been featured in a major art-historical survey until now. His subtly toned oil paintings of young men engaged in sports and other leisure activities are reminiscent of classic figure painting, highlighting his beaux arts training, yet their gentle elegance continues to speak to contemporary audiences through Abercrombie & Fitch...
- 10/16/2010
- The Advocate
New York–based artist Mark Beard has devoted the last two decades to exploring and amassing the work of Bruce Sargeant (1898–1938), a painter whose work idealized and celebrated the beauty of the male form. Had Sargeant not met a tragic and unexpected end in a wrestling accident, he may have gone on to the heights now enjoyed by artists such as James McNeill Whistler; instead, his oeuvre remained hidden for years and is only now being brought to light, with works still being discovered. Prized in elite gallery circles and salons in Europe and the United States, Sargeant’s work has never been featured in a major art-historical survey until now. His subtly toned oil paintings of young men engaged in sports and other leisure activities are reminiscent of classic figure painting, highlighting his beaux arts training, yet their gentle elegance continues to speak to contemporary audiences through Abercrombie & Fitch...
- 10/16/2010
- The Advocate
New York–based artist Mark Beard has devoted the last two decades to exploring and amassing the work of Bruce Sargeant (1898–1938), a painter whose work idealized and celebrated the beauty of the male form. Had Sargeant not met a tragic and unexpected end in a wrestling accident, he may have gone on to the heights now enjoyed by artists such as James McNeill Whistler; instead, his oeuvre remained hidden for years and is only now being brought to light, with works still being discovered. Prized in elite gallery circles and salons in Europe and the United States, Sargeant’s work has never been featured in a major art-historical survey until now. His subtly toned oil paintings of young men engaged in sports and other leisure activities are reminiscent of classic figure painting, highlighting his beaux arts training, yet their gentle elegance continues to speak to contemporary audiences through Abercrombie & Fitch...
- 10/16/2010
- The Advocate
New York–based artist Mark Beard has devoted the last two decades to exploring and amassing the work of Bruce Sargeant (1898–1938), a painter whose work idealized and celebrated the beauty of the male form. Had Sargeant not met a tragic and unexpected end in a wrestling accident, he may have gone on to the heights now enjoyed by artists such as James McNeill Whistler; instead, his oeuvre remained hidden for years and is only now being brought to light, with works still being discovered. Prized in elite gallery circles and salons in Europe and the United States, Sargeant’s work has never been featured in a major art-historical survey until now. His subtly toned oil paintings of young men engaged in sports and other leisure activities are reminiscent of classic figure painting, highlighting his beaux arts training, yet their gentle elegance continues to speak to contemporary audiences through Abercrombie & Fitch...
- 10/16/2010
- The Advocate
New York–based artist Mark Beard has devoted the last two decades to exploring and amassing the work of Bruce Sargeant (1898–1938), a painter whose work idealized and celebrated the beauty of the male form. Had Sargeant not met a tragic and unexpected end in a wrestling accident, he may have gone on to the heights now enjoyed by artists such as James McNeill Whistler; instead, his oeuvre remained hidden for years and is only now being brought to light, with works still being discovered. Prized in elite gallery circles and salons in Europe and the United States, Sargeant’s work has never been featured in a major art-historical survey until now. His subtly toned oil paintings of young men engaged in sports and other leisure activities are reminiscent of classic figure painting, highlighting his beaux arts training, yet their gentle elegance continues to speak to contemporary audiences through Abercrombie & Fitch...
- 10/16/2010
- The Advocate
London, April 6 – Recalling her days before she achieved superstardom, Susan Boyle says she looked like the dull character in oil painting “Whistler’s Mother”.
The 1871 painting, officially called “Arrangement in Grey and Black: The Artist’s Mother”, is the work of American-born James McNeill Whistler. It shows Anna Whistler while she lived with her son in London.
“Oh for goodness sake! I looked like Whistler’s Mother!” the Sun quoted Boyle, as saying.
She added: “I do scrub up.
The 1871 painting, officially called “Arrangement in Grey and Black: The Artist’s Mother”, is the work of American-born James McNeill Whistler. It shows Anna Whistler while she lived with her son in London.
“Oh for goodness sake! I looked like Whistler’s Mother!” the Sun quoted Boyle, as saying.
She added: “I do scrub up.
- 4/6/2010
- by News
- RealBollywood.com
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