Oil Painting Lessons From John Singer Sargent
// Artist Daily
|La Carmencita by John Singer Sargent, |
oil painting, 1890.
One of the primary oil painting techniques Sargent utilized that I find most intriguing is that every stroke attempts to describe the essences of an object. The texture of fur, the sheen of silk, the intricate knots in lace, the pattern of sunlight on water, a rosy-colored cheek—Sargent attempted to embody all of these in every stroke. He wasn't trying to add a bunch of strokes together and hopefully get the shimmy and swirl of the fringe on the dancer's body in La Carmencita, for example. The paint strokes are shimmies and swirls.
|Richard Morris Hunt by John |
Singer Sargent, oil painting, 1895.
|Mabel Marquand by John Singer |
Sargent, oil painting, c.1891.
And Sargent didn't just paint anything. He painted exceptional moments. That's not to say he scorned the everyday, but he chose his compositions thoughtfully and well. Even a simple portrait of a woman, a child, or a group delivers impact because Sargent pushed to articulate something noteworthy that makes a viewer linger, as in the position of the two figures in the portrait of Mr. and Mrs. I. N. Phelps Stokes or the hand gesture and askance look in Mabel Marquand.
|Mr. and Mrs. I. N. Phelps |
Stokes by John Singer
Sargent, oil painting, 1897.
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