Flashback Friday: John Singer Sargent & The Atelier Methods of Carolus-Duran (his teacher)

Jane & Wilfred de Glehn in Italy by Sargent (detail)

This is a previously published article from my older blog thinkingaboutpainting.blogspot.com 

Carolus-Duran was the progressive painting instructor in Paris with whom Sargent chose to study. 

His teaching diverged greatly from other painters of that time because of the emphasis on color and form, created with direct and painterly brushwork, with inspiration from past master Velasquez. 

This method of painting was very different than the academic norm at the time, which emphasized smooth blending. 

Sargent's facility with a brush is almost universally admired among oil painters and an examination of how he achieved such beautiful realism combined with gorgeous brushwork is of interest to many of us, so I thought it would be good to find out more about the method he learned from Carolus-Duran.

I found this quote, taken from The Lure of Paris: Nineteenth-Century American Painters and Their French Teachers by H. Barbara Weinberg, very interesting as the painting procedure described is still practiced by painters today, such as Cedric Egeli:

Despite his gifts as a draftsman and his success in the Ecole des Beaux-Arts, there is almost no easel painting by Sargent, from his atelier studies to his most ambitious late portraits and outdoor genre works, that does not disclose an affiliation with the painterly, anti-academic manner of Carolus-Duran. Sargent’s early Blonde Model vividly exemplifies Carolus-Duran’s method, as described by R.A.M. Stevenson, an English painter, and later writer, who also entered the atelier in 1874:

No preparation in colour or monochrome was allowed, but the main planes of the face must be laid directly on the unprepared canvas with a broad brush. These few surfaces – three or four in the forehead, as many in the nose, and so forth – must be studied in shape and place, and particularly in the relative value of light that their various inclinations produce. They were painted quite broadly in even tones of flesh tint, and stood side by side like pieces of a mosaic, without fusion of their adjacent edges. No brushing of the edge of the hair into the face was permitted, no conventional bounding of eyes and features with lines that might deceive the student by their expression into the belief that false structure was truthful . . . you must make a tone for each step of a gradation. Thus, you might never attempt to realize a tone or a passage by some hazardous uncontrollable process.

Also, here is an account of how the studio ran by Carolus-Duran functioned, taken from A Manual of Oil Painting by John Collier:

The model was posed on Monday, always in full light, without shadow effect, and against a strongly-coloured background, which we had to imitate exactly in its relations to the figure. The figure was drawn in in charcoal, then we were allowed to take a sable and strengthen the outline with some dark colour mixed with turpentine, but not to make any preparation, nor put in conventional dark brown shadows.

The palette was set as follows: Black, verte emeraude, raw umber, cobalt, laque ordinaire, brun rouge or light red, yellow ochre, and white (the colors being placed on the palette in this order from left to right).

We were supposed to mix to or three gradations of yellow ochre with white, two of light red with white, two of cobalt with white, and also of black and raw umber to facilitate the choice of tones.

We were not allowed any small brushes, at any rate not for a long time—many months or years.

On Tuesday Duran came to criticize and correct the drawing, or the laying in of painting if it was sufficiently advanced. We blocked in the curtain first, and then put in the figure or face in big touches like a coarse wooden head hewn with a hatchet; in fact, in a big mosaic, not bothering to soften things down, but to get the right amount of light and the proper colour, attending first to the highest light.

The hair was not smoothed into the flesh at first, but just pasted on in the right tone like a coarse wig; then other touches were placed on the junctions of the big mosaic touches, to model them and make the flesh more supple.

Of course these touches were a gradation between the touches they modelled. All was solid, and there were no gradations by brushing the stuff off the lights gently into the darks or vice versa, because Duran wished us to actually make and match each bit of the tone of the surface. He came again on Friday to criticise and on that day we finished off.

Finally, here are some painting notes attributed to Sargent and recorded by http://gurneyjourney.blogspot.com/2009/02/sargents-painting-notes.html 

1. Painting is an interpretation of tone. Colour drawn with a brush.

2. Keep the planes free and simple, drawing a full brush down the whole contour of a cheek.

3. Always paint one thing into another and not side by side until they touch.

4. The thicker your paint—the more your color flows.

5. Simplify, omit all but the most essential elements—values, especially the values. You must clarify the values.

6. The secret of painting is in the half tone of each plane, in economizing the accents and in the handling of the lights.

7. You begin with the middle tones and work up from it . . . so that you deal last with your lightest lights and darkest darks, you avoid false accents.

8. Paint in all the half tones and the generalized passages quite thick.

9. It is impossible for a painter to try to repaint a head where the understructure was wrong.

PALETTE: Silver White, Naples Yellow, Yellow Ochre, Ochre dew (English Red), Red Ochre, Vermillion, Ivory or Coal Black, and Prussian Blue.

James Gurney explained his interpretation of the above notes as follows: 

For me, one of the keys of understanding Sargent is looking at the painting methods of his teacher Carolus Duran, who had a somewhat unusual method compared to other academic teachers. In a nutshell he tended to block in the tones in discreet mosaic-like patches at first (like a plane head, if you're familiar with those things) and then later in the game you blend the patches into each other 

I believe this method gives the best tonal accuracy, which is what he's singing about in #5.

Regarding #7 about starting with the middle tones, I believe he means that right away you want to make your big value statement (or the 'effet' as they called it), but you should reserve your very darkest accents and lightest highlights for final, carefully considered touches.

Make sure to download this wonderful account of Sargent's painting methods:
http://www.goodbrush.com/misc/painting_lessons/sargent_notes.pdf

For more information on this subject, check out this detailed blog post: 

http://www.studiorousar.com/2011/03/21/carolus-durans-methods/

And here are a couple of articles from the 1800's that are linked in the above mentioned blog: 

http://dl.dropbox.com/u/16620532/The-Century-Magazine-Jan1886.pdf
http://dl.dropbox.com/u/16620532/The-Contemporary-Review-May1888.pdf

The Daily Painting Habit: Day 21 of 21 - Charcoal Portrait Sketch #2

Connor

This will be charcoal portrait sketch #2 for 2017 and officially the end of my 21-day challenge (mostly painting and some drawing) that took WAY longer.

I am astonished that artists consistently do these 30-day challenges every six months (usually led by Leslie Saeta) and keep up! It is just not in my DNA to pronounce anything finished until I am happy with it and that often takes some time. I am okay with that.

That doesn't mean I will stop doing these small paintings and sketches. I strongly believe that creating on a daily basis is great for artistic growth, so my plan is to be in the studio on a daily basis, whether that is to create a small sketch or painting or working on larger pieces.

This drawing was a challenge due to most of the face being in shadow.

You always have to subdue everything in the shadows no matter how bright it seems when you look at that area, so I darkened the white of his eye in shadow more than I initially thought it should be. Black in light is lighter than white in shadow. There is a definite distinction between light and shadow and values do are not shared on either side!

When I was doing this, I thought of Sargent's charcoal portrait drawings that I have had the pleasure of viewing. A lot of them have a dark mass behind the light side of the face. I think it lends some drama.

In retrospect, I think I should have done this on toned paper with white chalk highlights - hey, maybe I will still do that!

The Daily Painting Habit: Day 20 of 21 - Charcoal Portrait Sketch

Austin with Shouldice

So, I am back, finally. Despite my lack of posting, I have been producing some work, including a lot of preparatory stuff for some large pieces I am planning.

Over the past few months, life has gotten in the way of art a bit. I have been dealing with a few ongoing health challenges that have prevented me from doing as much as I would have liked. I might write more about that at another time, or maybe not - we are all dealing with one thing or another and I don't want to be a bore.

For now, here is my latest work of art, a charcoal sketch. Charcoal is a rather messy medium and not for those who want a lot of control but it is also fun and easy to manipulate for a painterly, massed in type of drawing.

Everett Raymond Kinstler and Richard Ormond Chat About Sargent - and a FREE BOOK!

First thing on May 1, 2015 (Friday morning) we had the pleasure of witnessing the first meeting between Mr. Kinstler and Mr. Ormond (who is the grandson of Violet, Sargent's youngest sister). The two men are both passionately obsessed with John Singer Sargent, so the conversation was never dull.

The banter between the two gentlemen was delightful. I loved it when they politely contradicted each other over dates - I believe Mr. Ormond joked, "I won't quibble, but ... " about some small detail or other.  I love the expressions used by the British! I think at one point Mr. Ormond referred to himself (as a child) as, "quite a naughty boy" (which I thought was rather funny) and that, as such, he found his grandmother Violet rather fearsome and formidable.

A little known fact about Sargent include that he served as a consultant to museums with regard to buying Old Master's art. He was, along with Henry James, one of two great recorders of the golden age. He said that every portrait should have an element of caricature. He created at least 600 charcoal drawings, which Mr. Ormond is now trying to track down in order to catalogue them for posterity. For a really obscure fact, he sometimes traveled with a stuffed deer!

A few books recommended by Mr. Ormond (in addition to all the amazing, huge volumes produced by Mr. Ormond himself) included those by Evan Charteris (download this one, entitled John Sargent, for FREE here - you are welcome!), John Singer Sargent: A Conversation Piece by Martin Birnbaum (**see excerpt from the book at the end of this post below) and a third book, entitled, Sargent at Broadway: The Impressionist Years, which was co-written by Stanley Olson, Warren Adelson and Mr. Ormond.

Dawn Whitelaw introduced the two distinguished gentlemen 

Sargent's sister, Emily, was a gifted watercolorist in her own right yet did not exhibit her work. She was modest yet ascerbic, opinionated and intelligent. Emily served as hostess for Sargent, who remained unmarried his entire life.

Sargent was offered both a knighthood and membership in The Royal Academy. He refused both, as at least one of those honors would have entailed giving up his American citizenship.

Mr. Ormond mentioned that Sargent was not malingering, like the rest of his family, who always seemed to be ill with some malady or other. He had the robust strength to travel and participate fully in life. Despite being out and about, with lots of friends, he was apparently a bit of a social disaster. If you were unlucky enough to be seated next to him at dinner, you would have had your work cut out to engage him in much conversation.

Sargent could paint anywhere and anything and find a way to make it interesting. He was a decent man, comfortable with himself and always looking forward. He was cultured, intelligent, private, reserved and diffident. His keen observation resulted in paintings too gorgeous for his own good - he made very difficult paintings look easy.

One thing is for sure - we know where Richard Ormond got his eyebrows! He bears a striking resemblance to John Singer Sargent's father, Mr. Fitzwilliam Sargent.

**Excerpt from A Conversation Piece by Martin Birnbaum:

“Sargent never surrounded himself with an aura, and violently disliked a note of flattery which he could instantly detect.  DeGlehn’s story of a visit to Sargent with Claude Monet bears this out.  It seems that the two guests remained all day, lunching and dining with Sargent.  Naturally they spent part of their time in their host’s studio, filled at the time with some of the sensational Wertheimer portraits.  DeGlehn was amazed that Monet hardly looked at them and he not only resented the Frenchman’s attitude but mentioned the matter to Sargent.  “But he hates this sort of painting” declared Sargent, to whom, however, Monet ever remained a great friend. Indeed, Sargent himself enjoyed poking fun even at his best works.  “The Idiots of the Mountain” was the way he referred to the exquisite picture known as “The Cashmere Shawl”, all posed for by his beloved niece Rose-Marie Ormond Michel who perished in Paris when the Germans bombed the church of St. Gervais.” 
(Excerpt from “John Singer Sargent, A Conversation Piece” By Martin Birnbaum,  New York, Wm E. Rudge’s Sons, 1941, 80pp pp40-41  )

I found this quote HERE.

Portrait Society of America Conference 2015: Day Two Part 1

Day two of the conference began with an informative talk and slide show about John Singer Sargent by Michael Shane Neal. A couple of x-ray photos of the infamous painting of Madame X were of particular interest to me. This gorgeous painting hangs in The Metropolitan Museum of Art in New York City. Unfortunately for Sargent, the exhibition of this painting proved to be almost fatal to his career. The painting was viewed with horror and was considered scandalous, leaving the subject and her mother bathed in tears.

I know society was much different back in those days, but personally, I am puzzled by the slipped strap on her right shoulder being such a big deal (apparently women swooned at the sight). There is another painting of Virginie in existence (although in a pale dress) with exactly the same déshabillé dress, although in this instance it is the left shoulder strap that has fallen. I am not sure if this painting came before or after the one Sargent created. Does anyone know?

Many people think Sargent's facility with paint was effortless, but the x-rays indicate a struggle. The arm position and perhaps even the slipped strap were changed more than once in the underpainting. Having this knowledge is encouraging for those who admire Sargent's work and seek to emulate his skill, since it proves that he spent a lot of time preparing for and perfecting those bravura brushstrokes on the surface.

A Revelation by Executive Chair Edward Jonas

At the end of his presentation, Shane Neal had a wonderful announcement for those gathered. A video was played, with Executive Chair Edward Jonas announcing the release of a special edition copy of Sargent's palette that would be available for purchase!

Michael Shane Neal with new reproduction palette - very light and comfortable to hold!

Exciting New Exhibit - Sargent: Portraits of Artists and Friends coming to NYC!

I am so excited to get my new book, Sargent: Portraits of Artists and Friends, which has been created in conjunction with an exciting new exhibit, currently being held in Great Britain. I decided to go ahead and order the catalogue online. It will be a welcome distraction from the sinus cold and bronchitis I am currently battling.

The good news is that this exhibit (curated by Richard Ormond, Sargent's great nephew) will be coming to North America. The Metropolitan Museum of Art in New York City will be hosting the exhibit from June 29 to October 4, 2015.

If you like Van Gogh, there is also a concurrent exhibit of his flower paintings at The Met from May 12 to August 16, 2015, so if you time it right you can take in both exhibits. Also, Frida Kahlo is at The New York Botanical Gardens from May 16 to November 1, 2015.

I am already scheming a trip to New York this summer!

In related news, The Portrait Society of America is holding their annual convention in Atlanta this year and Richard Ormond will be giving the keynote address. If you are a portrait or figurative painter, this is am amazing event to attend, very inspirational, and with Sargent's great nephew presenting it will be even more special!

Sargent Student in Paris - James Coutts Michie

As I mentioned previously, this painting was created by James Coutts Michie, a fellow art student with John Singer Sargent of Carolus-Duran's Paris studio.

Unfortunately, this used to be a much larger painting. Someone in the family, at some point, decided to cut it down to better suit their modern decor, so now it measures 24 x 18.

I will post a close-up of the features soon.

The eyes were placed about 1/4" too high in the previous incarnation, so I had to paint out the upper half of his head and start over.    

Even John Singer Sargent, arguably the greatest portrait painter ever, scraped out heads over and over until he achieved what he had in mind, which makes me feel better about having to do so!

In painting portraits you start with a broom and end with a needle - from the general to the specific, and you can't fall in love with any detail until the whole is perfectly proportioned.

I am liking the Mona Lisa pose and tentative smile, although more work still needs to be done before I am happy with this one!