Art and Eye

  So often is John Singer Sargent defined by his society portraits which from the late 1870s, gave him international fame, a distinct style and elite client opportunities. The recent exhibition at Tate Britain successfully defined the artist through 'fashion' and his upper-class portraits with their quick, confident brushwork and equally commanding figural depictions. Studied less often, however, are the mural works by Sargent at Boston's public library which took the artist three decades to accomplish. The allegorical figure of the  Synagogue,  a particularly controversial design, seems to have been produced by a different artist entirely. Gone is the elegant pose of  Madame X,  or the sumptuous clothing of Madame Subercaseaux reclining at her pianoforte, or even the engaging, demur stare of Lady Agnew of Lochnaw. Sargent instead portrays an allegory turned in on itself and away from the viewer, swaddled in orientalising, claustrophobic folds.  Sargent's sources are ve

  As the only work remaining of Sienese goldsmith Guccio di Mannaia, the chalice he created for Pope Nicholas IV in the late thirteenth century is an incredibly important work of art. Not only does it highlight the rich, opulent nature of papal commissions, but it proves the talent of Sienese goldsmiths and their resulting influence on painters and sculptors of the period. The chalice is innovative in shape and form, but it is striking first and foremost through the use of gold. It is an object that deserves to be viewed in the flesh, because of its reflective and therefore mimetic potential – like a bronze sculpture it is activated by light and should be experienced in the round as a three-dimensional, highly decorated art object. Its complicated design features an almost architectonic base, star-like as it spills out towards the viewer. The base builds up into the stem of the chalice which is decorated with an array of enamelled plaques featuring saints, prophets, angels and further