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Title: The work of John S. Sargent, R.A.
Artist: John Singer Sargent
Author of introduction, etc.: Alice Meynell
Release date: April 19, 2026 [eBook #78497]
Language: English
Original publication: London: W. Heinemann, 1903
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*** START OF THE PROJECT GUTENBERG EBOOK THE WORK OF JOHN S. SARGENT, R.A. ***
THE WORK OF
JOHN S. SARGENT
R.A.
[Illustration: CARMENCITA]
THE WORK OF
JOHN S. SARGENT
R.A.
WITH AN INTRODUCTORY NOTE
BY
MRS. MEYNELL
[Illustration: Logo]
LONDON
WILLIAM HEINEMANN
NEW YORK: CHARLES SCRIBNER’S SONS
MCMIII
LIST OF PLATES
Carmencita
El Jaleo
Madame Gautreau
Miss Ellen Terry as Lady Macbeth
Carnation, Lily, Lily, Rose
Mrs. Boit
Children of E. D. Boit
George Henschel
Mrs. George Batten
Coventry Patmore
M. Léon Delafosse
The Hon. Laura Lister
The Hon. Victoria Stanley
Lady Agnew
Sir Thomas Sutherland
Gen. Sir Ian Hamilton (full length)
Gen. Sir Ian Hamilton (head only)
Lady Hamilton
Mrs. George Cornwallis-West
Miss Carey Thomas
Miss Octavia Hill
Mrs. Carl Meyer and Children
Lord Watson
Asher Wertheimer
The Misses Wertheimer
Alfred Wertheimer
Younger Children of Asher Wertheimer
Francis C. Penrose, F.R.S.
Lady Faudel-Phillips
A Venetian Interior
Miss Daisy Leiter
Lord Ribblesdale
Mrs. Endicott
Mrs. Joseph Chamberlain
Duke of Portland
Duchess of Portland
Lady Elcho, Mrs. Tennant, and Mrs. Adeane
The Ladies Alexandra, Mary, and Theo Acheson
Mrs. Charles Hunter
The Misses Hunter
Lord Russell of Killowen
The Hon. Mrs. Charles Russell
Mrs. Leopold Hirsch
W. Graham Robertson
Johannes Wolff
President Roosevelt
A Spanish Dance
Joseph Jefferson
Lady with White Waistcoat
Signor Mancini
H. G. Marquand
Mrs. Marquand
M. Paul Helleu
Bedouin Arab
Egyptian Girl
Italian with Rope
Egyptian Woman (coin necklace)
Capri Girl
Mrs. Meynell
Study: Profile
Study for a Portrait
Portrait Sketch
INTRODUCTORY NOTE
Even the critic of some twenty years ago, to whom the drama of life
seemed “literary” and therefore not fit for painting, must confess to an
interest in the subject of a picture when that picture is a portrait.
The painter’s perception of the character of his sitter is an essential
part of his work, even of his execution. There is an insight in
portraiture of which no one is afraid to speak. Even when, in the last
century, the crime of “literature” was discovered, this was not accused
of “literature”, and no man charged this kind of “reading” with that
sin. Most justly did the portrait painter pass unrebuked.
To-day indeed we are disposed to admit within the sphere of the art of
painting all things that the eye can reach, and its field is wide. The
kingdom of the eye contains all that is simply visible of the history
and drama of man, all his beauty, all the signs of his character, and
the action and attitude of his passions: these things, as well as the
“pattern” made by his figure and his furniture composed. It contains
also what the imagination of the eye can see—the apparition, the vision,
and the dream. The mere name of “vision” marks it as subject to the
dominion of the eye. That man pays to literature a disproportionate
homage who assigns to it all the show and exposition of humanity in
disaster and felicity; and does to art an answering wrong. Nay, because
literature claims what is invisible and lodges within, art might well
assert the greater right over what cannot be hidden but needs must make
itself manifest, whether in the eyes of surprise, or in the movement of
violence, or in the spiritual condition of a man, and the experience of
his race, as they are noted in his aspect. These things are to be seen
by a silent art.
Nor, as was said but now, has recent criticism—penultimate criticism for
the present, and it may be new again not many years hence—denied this
human and civilized intelligence to portraiture. It has even granted to
the portrait painter, as master of one of the intelligent arts, the
praise due to a master of the intellectual arts, calling him
psychologist. It is, however, by a degree of violence that this name is
given to a painter. Here indeed, something does seem to be taken from
literature. Psychology must be expressed and stated in explicit words,
and with explicit words painting has no need to deal. Therefore one may
hesitate to name Mr. Sargent, as he has been named, a psychologist: that
is, in his work, for obviously we are not to pass beyond the picture. He
proves himself rather to be observant and vigilant, nay simple, as a
great artist must be. How many and various qualities, mental and
physical, meet to prepare that direct and single contemplation of the
world might give us matter for surmise; for contemplation there
is—something more than observation; and something more than
perception—insight.
Apart from this slight error (if it be one) of giving to painting the
name of psychology, every interest is allowed by one consent to the
subject of portraiture. The likeness of man or woman is a great thing to
achieve; if it lives at all it lives so long! It gives long life, a life
of ages, to all the incidents of this individual face, its age, its
health, its consciousness, its race. It is evident that Mr. Sargent has
keen sight for the signs of the races; there is as it were the knack of
Spain in his “Jaleo”, something neither Italian nor Oriental, but proper
to the spirit of the populace of this one peninsula, a somewhat
deep-toned gaiety, a laugh in grave notes, and a kind of defiance, at
least in the women. If the men have the nature of tenors, the women
there have the nature of contraltos. In the “Javanese Dancer” the
flat-footed, flat-handed action of the extreme East—a grace that has
nothing to do with Raphael—is rendered with a delightful, amused, and
sympathetic appreciation: the long code of Italian conventions
disappears: the slender Javanese dance has weight—a confession of
gravitation, whereas the occidental dance makes light of it. All that is
alien here, the painter sees in the quick. When Mr. Sargent paints an
American—the portrait of Mr. Roosevelt, for example—the eye has the look
of America, the national habit is in the figure and head. No
caricaturist has so much as attempted this aspect, because the
caricaturist apparently never sees it, but thinks he sees something
else—happily, for the real signs of nation and race are too fine and
good for inhuman burlesque: we may be glad to see them reserved for
worthy and in truth more humorous eyes. Every man in his humour is every
man in the humour of his fathers and of the soil. In like manner, Mr.
Sargent paints an Englishwoman with all the accents, all the negatives,
all the slight things that are partly elegant and partly dowdy—one can
hardly tell which of those two—the characteristics that remove her,
further than any other woman, from the peasant and the land, further
than an artificial Parisian: Mr. Sargent perceives these keenly, never
forcing the signs, for force would destroy anything so delicate. It is
perhaps almost necessary to have been an Anglo-Saxon child living abroad
in order to have the nicest sense of the aspect of an English lady (I
use the noun, of course, intentionally); if you have had that little
experience—and it was Mr. Sargent’s, _à propos_—having also had a
child’s profound apprehension of personality, you have the most perfect
perception of her Englishism. There is one of Mr. Sargent’s portraits, a
most charming one, of a lady very slightly and beautifully faded,
sitting, with her slender hands in view. There is nothing to connect her
with Italy, and the fancy is quite gratuitous; but she is so peculiarly
English that one can hear her mispronounce, with a facile haste, some
Italian word with a double consonant in it. Another Englishwoman’s
portrait, the masterly picture of Mrs. Charles Hunter, with its
suggestion of refinement and fresh air, courage, spirit, enterprise and
wit, is subtly English. And purely French, with a French character lying
out of the view of the caricaturist, is the fine clear portrait of
Madame Gautreau, the firm and solid profile, with decision, not
weakness, in its receding forehead and small chin. The Hebrew portraits
present more obviously, but also not less subtly, the characters of
race; so do all those, pictures or drawings, in which Italians are
studied. The laugh of the young man pulling a rope is perfectly
national.
The race, nevertheless, does not overpower the least of the personal
traits that are, personally, worthy of record. Mr. Sargent takes at
times a sudden view, and thus makes permanent, too singly, one aspect of
an often altering face. It seems to be so, for example, in the portrait
of Coventry Patmore, in which that great poet’s vitality wears an aspect
too plainly of mere warfare. Even here one may hesitate, conjecturing
that some other eyes may see in this likeness traces of “the many
movements” of a poet’s nature. But “one thing at a time” is the right
rule for much portraiture; and yet again, it has perhaps been obeyed
here where it should not. Elsewhere the accident of a moment that is not
important may be something too passing for the dignity of a portrait;
but assuredly this is noted only when there has been nothing to note
that has a graver claim to “immortality.” I rather report another’s
murmuring than my own (the murmuring of one who prizes Mr. Sargent’s
genius in such a degree as no one can outdo) if I aver that he tells us,
in a portrait, now and then, such a fact as that a man has or has not
slept well. When he has something finer to show us, I do not think Mr.
Sargent shows us _that_; but the graver conditions of life are so
visible to him, and their aspect is so plain in the reflection of his
picture, that it is told of one portrait that a physician made a
diagnosis from it and named a malady until then uncertain—a disorder
that has a characteristic effect upon bearing and expression. The
ordinary eye might see in that expression nothing but a kind of
demonstrative health. It is moreover interesting, in the case of this
portrait, to know that the painter, at work on one of the finest
pictures of his wonderful gallery, a picture magnificently arranged, was
keen as well as large of sight, and saw both the pictorial beauty of the
accessories and the difference between the look of another woman of the
world and the look of this one, who wears her jewels with an almost
secret difference. If the story is true, well; if it is not true, it has
been aptly invented by one who must know something of Mr. Sargent’s
manner of seeing and of perceiving what he sees. An example of the
portrait of a moment that is full of spirit and action is that of Mrs.
George Batten, which breathes the last note of a song—a note of Tosti’s,
one might guess. With this we may compare the repose of the standing
portrait of Lord Ribblesdale, in which one hardly knows whether face or
figure is more expressive of the poise of life—the unstable equilibrium
by which a man is thus admirably erect, so that nothing stable and
secure seems so upright, and nothing in flight more full of life.
Another pause is that in the face of Eleonora Duse in the quick sketch
in oils of which the reproduction is one of the treasures of this book.
The face is quite tranquil, so that other faces look uneasy in
comparison, and the eyes under their sombre lids have, in this brief
sketch, the most direct look in the world. The great tragedian gives in
her portrait, as in her art, the impression of an incomparable
sincerity, and faces us from the yonder side of the common human custom
of intercepted, veiled, retreating or hesitating looks. She does not
find these minor disguises to be worth while. Mr. Sargent’s sketch is
peculiarly moderate, and the reproduction happily keeps all the
distinction he has made between the one large light on the forehead and
the lower lights on the nose, cheek, and chin, so that it is the
modelling of the forehead that is most important, but one part is as
simple as another.
Those who would have refused to the art of painting—I think the idea
began to be sent broadcast by the essay of a French critic dated some
time after the middle of the nineteenth century or when the Romantique
painters were, mostly, dead—those, I say, who debarred this art from
dealing with any form of drama (for fear of “literature”) should
consistently bar the attitude of action. The angel with the palm must
not fly down to Tintoretto’s Ursula leading her multitude of martyrs.
Titian’s tempestuous angel of the Annunciation must not run to the
Virgin, with clapping wings and arm aloft under the cloud of an
impatient sky; nor must his Dionysus spring to Ariadne from the car.
Inasmuch as very few modern designers have the power of movement, this
incapacitating rule would serve the turn of the time well enough, and no
doubt has made shift to excuse the languor of those who had not energy.
No need to discuss now the inconstancy of that rule which allows a wheel
to turn, or a fountain to play; a wheel to turn, but not the living
pinion of Gabriel, and a fountain to play, but not the muscle of
Hercules. Mr. Sargent heeds no such inauthoritative law; and when he has
not the vital stillness of a portrait, he has such a spirit of movement
as that of “El Jaleo” and “A Spanish Dance,” the latter with its
Goya-like, straight-topped throng in the background. He achieves not
only the beauty of the attitude, but the power of the action, of the
dance.
Amongst the pictures of children, the portrait of The Hon. Laura Lister
takes its place with the most beautiful painted in all centuries since
it was first held worth while to paint that childhood which the fathers
and mothers of old were in haste to see securely past. Portraiture came
comparatively late in the Italian schools—Venice apart—and seems to
console or flatter their decline; and the portraits of children came
last. But in Spain, Holland, Venice, and England, the great age was an
age of portraits, and in our time the best work, since the landscapes of
Norwich and Barbizon came to an end, is portraiture again. Portraits of
childhood and an exquisite study of twilight and lantern-light, with the
fine violet tints that artificial light lends to evening air, and with
white as lovely in its coolness as the white of Titian in its gold, are
united in the Garden picture, “Carnation, Lily, Lily, Rose”. It is
strange that any one affects to make light of truth and to look
elsewhere for decoration, when nature and truth can look so beautiful.
The coming of a great painter is so rare, and his contemporaries are so
much and so often taken by surprise by the annual exhibition of his
genius, that it must be difficult to them to assure themselves of what
he is. The work of Sir Joshua Reynolds is ranged and ranked, and every
Englishman has the leisure of all his life, and of the longest of its
years—the young years of education—for placing himself, in his turn, in
the orderly ranks of admirers. But the works of a great living master
appear and appear, they are scattered; comparison with masters of the
past is too sudden, and there has not been time for a general consent.
Nevertheless any student who has been called to give to the living
painter the long and deliberate attention reserved in general for the
dead, may perhaps be allowed to go in advance and to take on himself the
usual office of numbers. Even so a great artist has no little privation,
during his life, of the honours he is earning. We know that it was so
with Reynolds, for the praise he had in his time is not to be compared
with the homage he has in ours.
In the case of Mr. Sargent one supreme quality is so evident and so
all-intelligible, that his work could never be neglected. It is a
quality for all eyes and all intelligences. “The many cannot miss his
meaning,” said James Russell Lowell of his own great contemporary
author, “and only the few can find it.” The many cannot miss the life of
Mr. Sargent’s painting, if the masterly method that brings that life to
light is for students only to understand, or even only for painters. It
is not necessary that the laity should know much of this; and so much
said about “technique” outside of the studios is surely little to the
purpose. The artist does not join in the prattle with a public that is
better employed in simple appreciation. Every art and craft has its
methods for its own use. There must, for example, be much technique in
the safe driving of a cab in Piccadilly, and assuredly we admire, and we
trust and we profit: but the cabman keeps his technique to himself and
makes no appeal whatever to his “fare”, does not ask that client to
understand him. One professor only—the playwriter—seems inclined to cry
out about his troubles—the difficulty of composing his scenes. If our
friends in front did but know, he cries in effect, how exceedingly
difficult it is to arrange these things, they would not complain of a
tedious fore-scene; so much has to be doing behind; pray, a little more
patience and technique! There is, however, more dignity in keeping
separate places.
We spectators can hardly be anything else than ignorant, even with a
smattering—ignorant of the art of the painter. A certain education, as
has been said, makes us able to see well, and that is our art and needs
our attention. It is our contribution, and we owe it. Life, light, form,
and colour in a picture, and indeed in nature, must have our intelligent
eyes; but there is something transcendent in the power of him who shows
us the great quality of life so plainly that the simplest of us cannot
but see. The life of Mr. Sargent’s portraits is so much more than the
trivial vivacity which takes a careless eye, it is so truly vitality,
that the eye meeting it, though it may be simple, must not be silly,
must not be vulgar. Therefore when the comments of an English crowd seem
dull to the listener, as they do, that crowd seems yet to retrieve
itself, and makes no small amends, even at the Royal Academy, by
generally saying of a splendid Sargent that it has life. As for colour,
the love of it is with the greater number of us, but it needs definite
education. Mr. Sargent is not distinctively a colourist, although he has
truly exquisite colour, whether in his wonderful flesh, or in his whole
system of shadows, or in some beautiful blue of a decorative sky. But I
think a painter who is more distinctively a colourist pauses upon the
colour of a shadow, for example, as Sargent does not seem to do.
Rembrandt is called a chiaroscurist rather than a colourist, but he is
surely proved a colourist also, by his dwelling upon the colour of some
shadowed background. Mr. Sargent’s colour is rather something on the way
to some beauty and truth of value and relation. Nature is full of
passages of mystery, lapses of light and lapses of detail. A comparison
is suggested to me of this beautiful “lost and found” in the shadowy
world we see, with the momentary lapse of the lark’s song when we hear
him sing at his height, and its momentary recovery. There are in all
natural scenes under our vision a hundred opportunities for pausing on
the beauty of these retreats; the painter visibly delights in them—the
colourist chiefly for their colour. Mr. Sargent has not this delight
passionately, though he has it most delicately, and we may suppose his
chief felicity to be in perfect relations and in subtle modelling.
It is interesting to note that one art which seems to be deprived of
these passages of mystery, has yet found a means to recover them—the art
of sculpture. It is true that sculpture, like architecture, if it has no
mystery in its making, has (being round and solid and invested by lights
and shadows, and attended by distance) the mysteries of nature herself.
Yet a mystery of the artist’s own has a value and suggests his
imagination. In Michelangelo’s unfinished “Giorno” and in another great
figure of his in Florence, half hewn from the block, the mystery is less
his than ours; for it is due to the incomplete condition of a work
greatly begun by an illustrious hand. But surely M. Rodin, in our own
day, has given to the complete work a partial veil, a lost and found, a
pause and an interval, full of life. It is a pleasure to associate this
high contemporary name with that of Mr. Sargent, none the less because
on his visit to London M. Rodin recognized the supreme master of
painting in the portrait group of the three Misses Hunter, “that bouquet
of flowers.” From the strong and delicate modelling of Mr. Sargent’s
heads, a sculptor might make a bust.
“There are two methods of laying oil-colour which can be proved
right: ... one of them having no display of hand, the other involving it
essentially and as an element of its beauty. Which of those styles,”
Ruskin writes to Dante Rossetti, “you adopt, I do not care.” Perhaps if
he had written this with revision in a book, and not hastily in a
letter, Ruskin would have changed the word “display” for one of more
dignity. The beauty of the “power of hand” made evident stands clear of
the soliciting action of “display” as we use that word currently. It is
a manifestation indeed, and explicit, and the manifestation is veritably
the beauty. “Display” seems to suggest a secondary grace, an
afterthought, and once more to divide style, which Ruskin obviously did
not intend to do. But apart from this hasty word, the saying has a
significance not only for those who persist, against his own profession,
in believing that Ruskin held only one method “proved to be right,” and
this the method he mentions first, attributing it to Holbein and Van
Eyck; but for more serious readers and students. Of all the arts our
impulse may be to protest that there are not two methods but many.
Essentially, nevertheless, there are two. The equality of the two peaks,
the two summits, has but lately been proved aloft in the highest places
of music. So unlike are the two “methods” there, that one might say two
arts of music, two muses, rather than two methods. For when the great
modern art of emotional expression first shook the hand and took the
breath (its earliest thrill or grimace, I think, may be seen in a
picture in the lower church at Assisi), the other, the unshaken art, was
not abolished. It continued, and having shown the Crucifixion in mosaic,
the Passion in literature, the Lamentations in music, with a steadfast
soul and no tremor, it achieved the purely perfect and beautiful melody
of Mozart, which expresses nothing, the melody of the unbroken heart.
Music has to serve us with examples of the dual art because her examples
are perfect. But the examples of painting also are true; and as the mind
of art was divided, so also was her manner—the laying of oil-colour, as
Ruskin says, has two right ways. The unchanging quarrel bickers on under
changing forms and various names, from generation to generation, because
the world is slow to confess that there are two right ways—for fear,
perhaps, lest it should be committed to many. Manifestly one sect, being
right, cannot convince nor even convict the other, this also being
right. There has never been peace since the art of criticism began. That
is, mere writers on art will not be friends, whereas we do not conceive
that Hogarth had enmity of heart towards Velasquez, or Tintoretto
towards Holbein. “Twain is the mind” of art, and her hand has two laws.
It need not be said, by-the-by, that beauty of execution is inseparable
from all really fine painting, and that the work which has it not is not
the best of either of two right and lawful schools; for it is of power,
and not of beauty only, that Ruskin writes. Hogarth’s execution is very
beautiful, but his “display” of power of hand is so suppressed as to
escape some admiring eyes.
Mr. Sargent is eminent on the summit of one of these equal heights. He
has indeed shown in modern times how high that height reaches—the height
of the “power of hand” made manifest, the manifestation being an
essential part of the beauty of that power. He is therefore one of the
family of Velasquez, and no less than his chief heir.
A. M.
PLATES
[Illustration: EL JALEO]
[Illustration: MADAME GAUTREAU]
[Illustration: MISS ELLEN TERRY AS LADY MACBETH]
[Illustration: CARNATION, LILY, LILY, ROSE]
[Illustration: MRS. BOIT]
[Illustration: CHILDREN OF E. D. BOIT]
[Illustration: GEORGE HENSCHEL]
[Illustration: MRS. GEORGE BATTEN]
[Illustration: COVENTRY PATMORE]
[Illustration: M. LÉON DELAFOSSE]
[Illustration: THE HON. LAURA LISTER]
[Illustration: THE HON. VICTORIA STANLEY]
[Illustration: LADY AGNEW]
[Illustration: SIR THOMAS SUTHERLAND]
[Illustration: GEN. SIR IAN HAMILTON
(FULL LENGTH)]
[Illustration: GEN. SIR IAN HAMILTON
(HEAD ONLY)]
[Illustration: LADY HAMILTON]
[Illustration: MRS. GEORGE CORNWALLIS-WEST]
[Illustration: MISS CAREY THOMAS]
[Illustration: MISS OCTAVIA HILL]
[Illustration: MRS. CARL MEYER AND CHILDREN]
[Illustration: LORD WATSON]
[Illustration: ASHER WERTHEIMER]
[Illustration: THE MISSES WERTHEIMER]
[Illustration: ALFRED WERTHEIMER]
[Illustration: YOUNGER CHILDREN OF ASHER WERTHEIMER]
[Illustration: FRANCIS C. PENROSE, F.R.S.]
[Illustration: LADY FAUDEL-PHILLIPS]
[Illustration: A VENETIAN INTERIOR]
[Illustration: MISS DAISY LEITER]
[Illustration: LORD RIBBLESDALE]
[Illustration: MRS. ENDICOTT]
[Illustration: MRS. JOSEPH CHAMBERLAIN]
[Illustration: DUKE OF PORTLAND]
[Illustration: DUCHESS OF PORTLAND]
[Illustration: LADY ELCHO, MRS. TENNANT AND MRS. ADEANE]
[Illustration: THE LADIES ALEXANDRA, MARY, AND THEO ACHESON]
[Illustration: MRS. CHARLES HUNTER]
[Illustration: THE MISSES HUNTER]
[Illustration: LORD RUSSELL OF KILLOWEN]
[Illustration: THE HON. MRS. CHARLES RUSSELL]
[Illustration: MRS. LEOPOLD HIRSCH]
[Illustration: W. GRAHAM ROBERTSON]
[Illustration: JOHANNES WOLFF]
[Illustration: PRESIDENT ROOSEVELT]
[Illustration: A SPANISH DANCE]
[Illustration: JOSEPH JEFFERSON]
[Illustration: LADY WITH WHITE WAISTCOAT]
[Illustration: SIGNOR MANCINI]
[Illustration: H. G. MARQUAND]
[Illustration: MRS. MARQUAND]
[Illustration: M. PAUL HELLEU]
[Illustration: BEDOUIN ARAB]
[Illustration: EGYPTIAN GIRL]
[Illustration: ITALIAN WITH ROPE]
[Illustration: EGYPTIAN WOMAN
(COIN NECKLACE)]
[Illustration: CAPRI GIRL]
[Illustration: MRS. MEYNELL]
[Illustration: STUDY: PROFILE]
[Illustration: STUDY FOR A PORTRAIT]
[Illustration: PORTRAIT SKETCH]
------------------------------------------------------------------------
TRANSCRIBER’S NOTES
● Fixed typos; non-standard spelling and dialect retained.
● Enclosed italics font in _underscores_.
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