Years ago The Art Institute of Chicago was host to an impressive exhibit of paintings by the society painter John Singer Sargent. This writer was fortunate enough to be one of the privileged to attend this blockbuster exhibit. Galleries were overflowing with the expatriates’ commissioned oil and watercolor paintings and continuously stuffed with attendees viewing this massive collection of completed works. The exhibit not only changed the direction of my course of study but also began a personal pursuit of technical proficiency as well. And, it would be safe to say that after viewing the exhibit, any artist attending was effected exactly the same.

John Singer Sargent (1856-1925) was born in Florence to American parents. His mother supported and encouraged her young sons’ artistic talents. Success came quickly to the artist for, the inner circle of high society were most appreciative of his artistic talents. In addition to painting the aristocracy, Sargent’s cliental was made up mostly of International finance patrons that helped keep his painting calendar full.

The working environment during early 1500’s Renaissance Rome could be compared to any modern emerging city of today. For, Pope Julius II was interested in both rebuilding and embellishing the Vatican. It was the place to be for journeymen of all trades or artists desirous of job procurements.

Raphael (1483-1520) was the only son born to a court painter and as a young child he was encouraged and supported by his father to develop his artistic skills. The young artist was building a successful painting career in Florence when in 1508 at the age of twenty-five he was commissioned by the Pope to fresco his private living chambers of the Vatican.

The young, charismatic Raphael soon was included along with Leonardo daVinci, Michelangelo, and Titian into the tight painting circle during the High Renaissance. You could say that this elite popular group of masters have been considered then and now as the “Fab Four”. His pleasing personality, exquisite manners and unequaled charm helped secure his position with wealthy patrons. After completing and proving himself with his first successful executed fresco for Pope Julius II, Raphael’s genius was demonstrated and his financial future secured. Soon the artist was in such demand that Raphael needed several studios and numerous assistants to help fulfill the never-ending contractual agreements. As his popularity grew among wealthy patrons his career advanced so much so that Raphael had only the time to draw the compositions in his studio and needed to rely on his many assistants to complete the frescos on site.

Strict rules existed regarding the appropriate behavior of the positioned social elite woman during the nineteen hundreds. For instance, it was not acceptable for a woman to be alone in a room with a man if he was not her father or brother. To fill her time she was encouraged to pursue light domestic activities that might include music, sewing, flower arranging or watercolor painting. Few women choose to extend these limiting boundaries. For, it was considered unconventional for woman of middle-class status to be desirous of obtaining a profession because they were not expected to do paid work.

To attend an Academy that taught the applied arts in the 1850’s a woman needed the approval from her male guardian. Regardless of the institutions’ geographical location the same social restrictions for women existed worldwide and were strictly enforced. And, if indeed the young woman received permission to attend an art academy there still remained obstacles in her path. Not to mention that it was considered unacceptable and therefore not permitted to sketch a fully clothed male model. Therefore, female students who participated in an Academy’s curriculum were not only excluded from attending the life-drawing classes but also prohibited from competing in the history painting category of the Salon competition. The former was important to build strong drawing skills while the latter was necessary to insure the artists’ financial survival.

For most, our visit to the art museum cannot be complete until we tour the Impressionist Gallery. Visitors of all ages from around the world enjoy the visual legacy created by these distinguished artists.

Most of us have enjoyed these works for as long as we can remember. Grade school publications informed and often highlighted this period hoping to engage some awareness from within our young minds. Thereby hoping to cultivate an early appreciation of the arts. But most of us are unaware of the struggle that was necessary to completely break with 400 year old restrictive regulations. These changes were necessary for the new emerging art form that had its beginnings in France during the 1860’s and a group of young aspiring artists’ desire for artistic independence.

During the Renaissance the knowledge of anatomy, perspective and superior drawing skills were the acceptable intellectual achievements and supported by the established institutions. Because color was associated with the senses and considered a sensual element further study was rejected. Thus, during this period mastering the color palette was neither promoted nor encouraged.

One might think that that "great" decorating idea is ours alone. We might be the first to suggest a particular subject matter with an unusual color palette for a chosen still life, portrait or landscape painting. Perhaps this idea could start a completely new positive trend within our circle. However, it can safely be said that it has all been done before.

Throughout history it has been documented that early civilizations had an interest in beautifying their surroundings. The Egyptian, Minoan, Roman culture all had one thing in common, to bring beauty into their environment.

For thousands of years Egyptian artisans were required to follow a particular state style that regulated all official sculptures and paintings. Even with these limitations these ancient artisans hand decorated the Pharaoh's burial chamber with breathtaking beauty using still life paintings of everyday objects in the hope that these wall murals would guide the deceased through the afterlife for eternity. Landscapes painted in ancient Egypt depict hunting scenes set in the delta of the River Nile, with emphasis on the reeds along the river bed, human and animal figures.