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Presenting nearly 100 works of art, this book is the first major publication of Sargents watercolours in twenty years. In watercolour as opposed to oils his vision became more personal and his works more interconnected. For Sargent, however, the watercolours were not so much about swagger as about a new way of thinking.

One reviewer in England, where Sargent spent much of his adult life, called his work swagger watercolours. Disregarding late-nineteenth-century aesthetic standards that called for carefully delineated and composed landscapes filled with transparent washes, his confidently bold, dense strokes and loosely defined forms startled critics and fellow practitioners alike.

John Singer Sargents approach to watercolour was unconventional. Still in publishers original shrink-wrap. Illustrated in colour and black and white. Carbone Bringing back something fine, by Annette Manick and Antoinette Owen. Sherry Approaching the modern, by Karen A. Choi Mountain landscapes, by Janet Chen The quarry, by Karen A. Carbone Alpine summers, by Janet Chen Idle hours, by Connie H. Sherry Arrangements in landscape, by Janet Chen In Villa gardens, by Teresa A. CONTENTS: Sargent and watercolor, by Richard Ormond Sargent's watercolors: not for sale, by Erica E. His vision became more personal and his works began to interconnect as he considered the way one image-often of friends or favorite places-enhanced another." - Publisher. For Sargent, watercolors were not so much about swagger as about a renewed and liberated approach to painting. One reviewer of an exhibition in London proclaimed him "an eagle in a dove-cote" another called his work 'swagger' watercolors. Disregarding contemporary aesthetic standards that called for carefully delineated and composed landscapes filled with transparent washes, his confidently bold, dense strokes, loosely defined forms, and unexpected vantage points startled critics and fellow practitioners alike. "John Singer Sargent's approach to watercolor was unconventional. OVERSIZE! No priority/international, except by arrangement. Introduction by Richard Ormond technical essay by Annette Manick and Antoinette Owen contributions by Karen A. Published in conjunction with an exhibition held at the Brooklyn Museum, April 5 to Jthe Museum of Fine Arts, Boston, Octoto Januthe Museum of Fine Arts, Houston, March 2 to May 26, 2014. Cloth, 247 pages, chiefly illustrated (chiefly colour) 26 x 31 cm.