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ARTIST BIOGRAPHY

Bruce Sargeant  

The pure and brilliant world of Bruce Sargeant’s art seems terribly removed from our own,
unhampered by the prevalent inconsistencies of today’s world. Peopled with comely
thoroughbreds, his paintings project a world vision unchanged from the models cherished by

idealist writers like E. M. Forster and Rupert Brooke in that golden decade that led up to the Great War. Neither buff nor narcissistic, his fairhaired young athletes pose, somewhat uncomfortably, before the painter’s gaze, not wanting the attention yet feeling their duty to submit. Though tantalized by the New World dabbings of Robert Henri and John Sloan, Sargeant found his true inspiration in the art and ethos of fifth-century Athens, where the achievement of the kaloi kagathoi, young men who were “beautiful to look at and worthy of admiration,” were the perfect models for artistic rendering and public adulation. At base, Sargeant’s models, like the sculptures of Lysippus and Praxiteles, are idealized heroes whose achievements on the playing field earn them their renown. However, unlike his precursors, the painter requires no civic responsibility from his ephebes, only physical stamina, gymnastic prowess, and good looks. His work bespeaks a class that existed briefly, but was prolonged and attenuated in the languorous novels of writers such as Denton Welch and John Knowles and idled in the minds of their countless readers. Washed in Sargeant’s omnipresent bluish-gray palette, trophies and cocker spaniels stand pari passu with his sportsmen, all hovering in that never-never land of privileged youth untainted by a harsh does of reality. Though Bruce Sargeant’s admixture would later be adopted by photographer Bruce Weber in the pages of fashion journals—covert homoeroticism employed in the service of commerce—the painter’s naivete and glistening adulation of his subjects will never be equaled. His untimely death on the field of sport, today seems oddly appropriate. Had he lived, growing older and wiser to the ways of the world, his only recourse would have been despair. As the painter of the fatal bloom of adolescent youth and glabrous beauty, he remains unequaled. 


Mark Beard
b. 1956, Salt Lake City, Resides in New York City

Selected solo exhibitions:

2014

 “Alter Egos,” ClampArt, New York City
2013

 “Alter Ego: Bruce Sargeant | Mark Beard,” Mattatuck Museum (Munger Room),

Waterbury, Connecticut

“Mark Beard and His Entourage,” Mila Kunstgalerie, Berlin 2012

 “Master and Apprentice,” ClampArt, New York City
2010

 “Bruce Sargeant and His Circle,” ClampArt, New York City

Carrie Haddad Gallery, Hudson, New York 2008 “Gracious Dictator,” ClampArt, New York City

Carrie Haddad Gallery, Hudson, New York 2007 John Stevenson Gallery, New York City

Carrie Haddad Gallery, Hudson, New York 

2005

John Stevenson Gallery, New York City
Jonathan Edwards House Gallery, Yale University, New Haven, Connecticut

2004

John Stevenson Gallery, New York City 2003 John Stevenson Gallery, New York City 1999 Wessel + O’Connor Gallery, New York City

Galerie Wolf, Berlin

Wessel + O’Connor Gallery, New York City 1998 Rivaga Gallery, Washington, D.C.

1997 

Wessel + O’Connor Gallery, New York City
1995 

Grey Art Gallery, New York University, New York City 1994 Here Art, New York City
1991 

Galerie Niel Ewerbeck, Vienna
1990 

Recent Works at Helio Gallery, New York City

Theatre Portraits, Home for Contemporary Theatre and Art, New York City 1988 Staatsgalerie Moderne Kunst, Munch

Galerie Biedermann, Munich
1987 

Home for Contemporary Theatre and Art, New York City 1986 Galerie Biedermann, Munich
1985 

The Harcus Gallery, Boston

Selected group exhibitions:

2014 

“A Nod to the Past,” Carrie Haddad Gallery, Hudson, New York
2012 “Naked Before the Camera,” The Metropolitan Museum of Art, New York City 2007 Carrie Haddad Gallery, Hudson, New York
2005 

Carrie Haddad Gallery, Hudson, New York
2003 

John Stevenson Gallery, New York City
2000 

Columbia University, New York City

Morris-Healy Gallery, New York City

Art and Culture Center, Hollywood, Florida 1997 The Andy Warhol Museum, Pittsburgh

Feature Gallery, New York City
“Emergency Art Fund Benefit Exhibition,” Pat Hearn Gallery, New York City

1995 

Artopia, New York City

1993 

Franklin Furnace, New York City

Lyrik Kabinet, Munich
Grolier Club, “Fifty Great Artist’s Books of the Twentieth Century,” New York City Cleveland Art Institute, Cleveland, Ohio

1992 Bayerische Staatsbibliothek, Graphische Sammlungen, Munich
1991 Prix de “HOME,” Home for Contemporary Theatre and Art, New York City

(Curated by Mark Beard)
1990 

“ICI Exhibition,” Bess Cutler Gallery, New York City

“Eighty from the Eighties,” New York Public Library, New York City
“The 1980s: Prints from the Joshua P. Smith Collection,” The National Gallery, Washington, D.C.
“Contemporary Illustrated Books: Word and Image,” The Franklin Furnace, New York City

1989 

The Toledo Museum of Fine Art, Toledo, Ohio 1988 The Neuberger Museum, Purchase, New York

The Boston Athenaeum, Boston

The American Craft Museum, New York City 1986 The Harcus Gallery, Boston

1984 

The Whitney Museum of American Art, New York City The Harcus Gallery, Boston

1981 Alexander Carlson Gallery, New York City 1980 Utah Museum of Fine Art, Salt Lake City, Utah

Installations and murals:

2007-2005 

Mural painting, friezes, and bronze sculpture, Abercrombie & Fitch, New York City, Los Angeles, London, and Tokyo

2004 

Bronze door, Safra Synagogue, New York City Grill Room, Dorchester Hotel, London

1996 

Children’s Opera House, Foyer, Opera House, Cologne
1995 

Painted murals, Foyer, Opera House, Cologne
1993 

Designed and painted new seventy-five-seat theater: West-End / State

Theater, Kölnershauspiel, Cologne
1991 

Mural Commission: The public spaces of das Schauspielhaus, Vienna 1984 “Windows on White”, New York City
1983 

“The Parallel Window”, New York City

Selected Collections:

The Metropolitan Museum of Art, New York City Museum of Modern Art, New York City
Whitney Museum of American Art, New York City Boston Museum of Fine Arts, Boston

Wadsworth Atheneum Museum of Art, Hartford, Connecticut Princeton University, Princeton, New Jersey
Harvard University, Cambridge, Massachusetts
Graphische Sammlung, Munich

Albertina, Vienna
The Beinecke Library, Yale University, New Haven, Connecticut The Harry Ransom Humanities Research Center, Austin, Texas Utah Museum of Fine Art, Salt Lake City
University of Missouri, Kansas City
The New York Public Library, New York City
The Chase Manhattan Bank, New York City

Toledo Museum of Fine Art, Toledo, Ohio
New Britain Museum of American Art, New Britain, Connecticut Mattatuck Museum, Waterbury, Connecticut
Jane Vorhees Zimmerli Art Museum, New Brunswick, New Jersey Mitchell Wolfson Collection, Miami
National Academy of Arts and Letters, New York City
Houston Zoo, Houston

Books:

Leddick, David; Gorgeous Gallery: The Best in Gay Erotic Art; Bruno Gmünder, Berlin (2012) Beard, Mark; Bruce Sargeant and His Circle; Chronicle Books, San Francisco (2010)
Harp, Grady; Powerfully Beautiful: Classically Inspired Living Painters of the Male Figure; Firehouse

Studio, New York (2009)
Beard, Mark; Works by “Bruce Sargeant” and His Cicle; Yale University, New Haven, Connecticut

(2004)
Beard, Mark; Manhattan Fifteen Year Reader, 51 reduction linoleum cuts, collaged and hand-

colored (2003)
Sargeant, Bruce; Fifteen Corporeal Poems, etchings and chine-collé by Mark Beard’s alter-ego

Bruce Sargeant (1998/1938)
Brandy, Aiden and Mark Beard; Aiden, etching and Polaroid transfers by Mark Beard (1992) Beard, Mark; Nineteen Famous People, Twenty-two Friends, and Six Nudes, Polaroid transfers by

Mark Beard; Freard Press, New York (1992)
Brecht, Bertolt; The Seven Deadly Sins, music by Kurt Weill, etchings and lithographs by Mark

Beard (1993)
Beard, Mark; Pleasure and Pain, linoleum cuts and hand-painted binding (1988)
Beard, Mark; Utah Reader, collaged linocut with hand coloring (1987)
Rumi (translated by Zhore Partovi); Moses and the Shepherd, etchings by Mark Beard (1986) Beard, Mark; Neo Classik Comix, etchings with selectively-wiped monoprinting by the artist (1985) Kondoleanm Harry; The Cote d’Azur Triangle, etchings and litographs by Mark Beard (1985) Beard, Mark; Manhattan Third Year Reader, collaged linocuts with hand coloring (1984)
Sitwell, Edith; The Death of Venus, lithographs by Mark Beard; Vincent FitzGerald and Company,

New York (1983)

Theater Sets:

1997-1986 

Designed over twenty theatrical sets in New York City, London, Cologne, Vienna, and Frankfurt

1993 

Nomination for Drama Desk Award for set design
1991 

The Village Voice Obie Award for sustained excellence in set design 

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