
Today I was reading "American Painters on Technique (1869-1945) by
Lance Mayer and Gay Myers. John Singer Sargent has always been a favorite painter of mine.
Here are a few interesting things about Sargent from this book.

John Singer Sargent's sister reported as a young student in Paris, he "Works like a dog from
morning till night." Sargent would spend a full day at Carolus-Duran's atelier, 2 hours of life drawing
classes at Ecole des Beaux-Arts, and 2 hours at Leon Bonnat's Studio. Artists at the
atelier described Sargent as being a painter envied by the studio and Carlus-Duran(his teacher).

Here are Carolus-Duran's methods for beginning a painting. (Sargent followed his methods).
1. Draw with charcoal.
2. Use a rigger, which is a round brush, dipped in pigment to state the masses.
3. No color or monochrome is allowed.
4. Shape, place, light is painted broadly in even tones of flesh tint like mosaic. No details.
5. No fusion of edges is allowed.
6. Make a tone for each step of gradation.
Philip Leslie Hale stated "Sargent never departed from Carolus-Duran's methods.
1. Wiping in darks were effective. He used unstudied shadows. (Does this mean he didn't put much details in his shadows?)
2. Putting in flat demi-teint. ( demi-teint means half tone. A half tone is the color not in highlight or in shadow. It is the true color of the object.)
3. Cracking highlights into wet paint without bothering too much whether the value is right.

In 1880 John Singer Sargent decided to develop a methodical plan to improve his skills
by painting quick outdoor sketches. He woke up each morning, went outdoors, randomly
chose a landscape to paint. His plan was to cover the whole canvas with a thin coat of color
so as to make a complete sketch to dry rapidly. The next day he could do another sketch over it.
Each day the previous day's sketch was sacrificed for the new day's work. Fresh start!

Sargent did something unique for his time concerning painting. He painted
the shadows as thickly with paint as he did in the light areas. Classically trained
painters always painted very thinly in the shadow or dark areas.

Sargent was a conscientious worker. He strove to paint a painting alla prima, or all at
once. To do this he had to wipe off many starts. He once said, "If only one had oneself
under perfect control...one could always paint a thing, finally, in one sitting."
If he was not completely satisfied he would scrape off the entire painting. He took
great trouble to get an unworried fresh look as if it were a sketch. He would rather scrape or wipe
a painting off instead of correcting it. R.H. Ives Gammel wrote Sargent's work was a series of super
imposed sketches of which only the final one was visible. Interestingly enough when Sargent
was doing portraits, he required many more sittings with his women clients than mens. He
always had an excess of canvas so he could make last minute adjustments. He could restretch the
finished painting and change the size of canvas.

Sargent was a classically trained artist. But he loved the impressionists. He even
traveled to paint with Monet. He used Monet's paints.(I wonder why he didn't bring his
own paints with him?) He asked for black. Monet said he had no black paint.
Sargent cried out, how could he paint without black? He
also used 'long brushstrokes' instead of the impressionist's 'short brushstrokes'.

John Singer Sargent's studio in Paris.
Here is the colors on John Singer Sargent's palette. On the right are modern colors one could use.
This is from the book, "The Technique of Portrait Painting" by Harrington Mann, J.B.
1. Blanc d' Argent 1. Permalba White
2. Pale Chrome 2. Cadmium Yellow Light
3. Transparent Gold Ochre 3. Transparent Gold Ochre
4. Chinese Vermillion 4. Cadmium Red Light
5. Venetian Red 5. Venetian Red
6. Chrome Orange 6. Cadmium Orange
7. Burnt Sienna 7. Burnt Sienna
8. Raw Umber 8. Raw Umber
9. Garance Fronce 9. Rose Madder or Perm Alizarin Crimson
10. Viridian 10-14. same as old name
11. Cobalt Blue
12. Fr Ultramarine Blue
13. Ivory Black
14. Cobalt Violet
The Conservation Dept of Tate Britain, London also discovered Mars Yellow,
Emerald Green, Sienna, Mars Brown, Red Lead, Cerulean. The dark backgrounds were often a mixture
of ivory black, mars brown, and lot of medium mixed from stand oil and turpentine.

Here is one of John Singer Sargent's palettes. He always told students, "Do not
starve your palette". (Put a lot of paint on your palette). Have a great night! Let's paint!