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Title : First-Hand Gleanings from Sargent
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First-Hand Gleanings from Sargent

In his memoir, painter and sculptor Emil Fuchs said he asked John Singer Sargent for permission to paint in the master's presence in order to learn from him.

John Singer Sargent, portrait of Edwin Booth, detail, 1890

Sargent wasn't particularly verbal about his painting philosophy or his technique, but Fuchs was able to glean some helpful insights anyway.

"He never said much, but what he did say, one might do well to engrave upon the tablets of one's mind. One of the great man's teachings was the dominant importance of values over color. 'Color,' he said, 'is an inborn gift, but appreciation of value is merely a training of the eye which everyone ought to be able to acquire.' "

Value in art, as everyone knows, simply means the relation of light to shade. Sargent referred to this idea over and over, and it occurred to me that perhaps he meant value not in pictures alone, but fundamentally in all the realms of life. His work demonstrates his ingrained belief in this. I can think of nobody who can see and render values with such delicate distinction as does Sargent."  

"His palette was to me a marvel. His enormous wealth of color he produces with a few simple hues, mostly earth colors — white, yellow ocher, light red or vermilion, burnt sienna, cobalt blue, emerald green and black. His is a rare skill in using and combining them." 

"Some mornings he would come in and, without saying much, would help me in painting a difficult passage from the model. While the direct way of painting appealed to him, he fully appreciated the more subtle methods, especially that of grisailles and glazing, by which many masters obtain their effects of brilliancy. This method, perhaps I should add, consists in painting first in black and white, and then laying on a thin film of transparent color."   

"Sargent's veneration for the work of the old masters was profound. But Velasquez and Franz Hals were the gods of his Pantheon. He copied both freely. Of Velasquez he had in his studio a facsimile of the dwarf Don Antonio el Ingles, and of Franz Hals several groups from his large pictures at Haarlem copied by himself. If my recollections of our discussions about artists are correct, Van Dyck seemed to appeal to him the least."

About technique it was always difficult to make him express himself in words. Rather than explain a serious problem, he would take a brush and paint that piece and the difficulties would vanish under his touch. When I worked at his studio he offered me the free use of his colors and even his palette and brushes which lay about in profusion. Few artists can bring themselves to lend these objects without feeling it to be sacrilege."

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With Pencil, Brush, and Chisel by Emil Fuchs
Emil Fuchs on Wikipedia
John Singer Sargent on Wikipedia

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