The Frieze of Prophets bands together the north end of the gallery beneath the Pagan Gods vault, wrapping along the west, north, and east walls. The prophets typify Sargent's portrait style with softy-rendered features and sweeping robes of black, white, and umber. Sargent traveled to the Middle East to study the vernacular of the region and to compose studies for the figures in this portion. In this north segment of the wall from left to right are Amos, Nahum, Ezekiel, Daniel, Elijah, Moses, Joshua, Jeremiah, Jonah, Isaiah, and Habakkuk. At center, the image of Moses is rendered in high plaster relief, bearing two tablets inscribed with the Ten Commandments.
Title from information in: Wick, Peter A. "A handbook to the art and architecture of the Boston Public Library" and Sargent, John Singer, "A sequence of mural decoration executed between 1895 and 1916.".
Abstract from information in: Sargent, John Singer, "A sequence of mural decoration executed between 1895 and 1916." and Promey, Sally M., "John Singer Sargent's Triumph of Religion at the Boston Public Library."
Notes (date):
A contract dated January 18, 1893 officially commissioned John Singer Sargent to undertake work on the Boston Public Library Murals. Canvases were completed in Sargent's studios in Morgan Hall, England and London, England and shipped over to Boston and adhered to the library walls in four installations occurring in 1895, 1903, 1916, and 1919.
Notes (object):
The artist used "raised relief" elements - including wood, Lincrusta-Walton, metal, papier-mâché, glass, and plaster to help emboss and illuminate the figures in natural light.
Notes (historical):
John Singer Sargent (1856-1925) was born in Florence, Italy to an American family. He was educated at the École des Beaux-Arts in Paris, and spent most of his life living and working in England. The artist maintained close ties to Boston and painted the Boston Public Library murals concurrently with murals at the nearby Museum of Fine Arts. Known for his aptitude as a portrait painter, Sargent was commissioned to capture many famous faces of his day. The library murals - arguably his most ambitious works - represented an opportunity to solidify his reputation as a master. He was not a highly religious man, but remained fascinated by religious imagery and iconography. "Triumph of Religion" represented an opportunity for the mid-career artist to take on a truly ambitious theme and celebrate his study of religious visual history. His mural cycle was left incomplete, perhaps slowed by the artist's personal loss with the death of his niece in World War I, as well as by criticism received from members of the public who found his representations offensive.
IIIF Manifest