| Property | Value |
|---|---|
| @type | vad:Art, rdfs:Resource, owl:Thing, vad:CreativeWork, skos:Concept, vad:VisualArts |
| url | https://www.jssgallery.org/Resources/Forum/Forum_Sargent%27s_Method.htm |
| urlDescription | Forum section of the Natasha's Internet Art Tour pages |
| urlTitle | Sargent's Method of Painting |
| license | work:CC-4-0 |
| @type | skos:Concept, vad:CreativeWork, rdfs:Resource, vad:Art, owl:Thing, vad:VisualArts |
| url | https://alanreed.com/2022/07/20/the-derelict/ |
| urlDescription | One of the paintings that I started on as part of the demonstration was a watercolour of John Singer Sargent's oil painting "The Derelict". |
| urlTitle | - Alan Reed Art Seascape painting, watercolours. The Derelict |
| license | work:CC-4-0 |
| ID | the:SargentsWatercolors_20250724 |
| @type | owl:Thing, skos:Concept, rdfs:Resource |
| created | 2025-07-24 |
| edited | 2025-09-08T09:31:38 |
| tag | John Singer Sargent Watercolors |
| definition | A collection of images of various of John Singer Sargent's watercolors. Many are from Venice, but I believe not all. Though Sargent's work The Derelict is in oil, his style is very fluid, similar to his watercolors. It's easy to see strokes of ultramarine watercolor dancing across the surface of the sea. The Derelict is associated with another watercolor, https://alanreed.com/2022/07/20/the-derelict/. Though a copy compositionally it is otherwise very distinctive. A quote found there explores vision and technique, “An abandoned ship is always a melancholy sight, and Sargent draws on the imagery of death and disaster at sea to charge his work with emotion. The seascape itself is an evocation of light shimmering on water at close of day. The artist achieves the effect by placing short, square brush strokes of strong colour, mostly blues of various shades, pink, and yellow, over a smooth greenish-grey tone. The sky is a bank of deep grey and bluish-grey cloud formations, shot through with streaks of brilliant orange and gold.” In his painting "In a Medici Villa," Sargent's handling of dappled light is a result of his masterful mixing of transparent and opaque colors. According to the Art Institute of Chicago, he used white gouache to create highlights over darker, transparent washes in other areas. This technique, along with his use of unusual viewpoints and cropping, contributed to the dynamic and expressive nature of his watercolors, according to DailyArt Magazine. He regularly used Mars yellow (a synthetic iron oxide) and cadmium yellow; viridian and emerald green, sometimes mixed; vermilion and Mars red, both alone and mixed; madder; synthetic ultramarine or cobalt blue; and ivory black, sienna, and Mars brown. The dark backgrounds of many portraits include a mixture of ivory black, Mars brown,and a generous quantity of paint medium: a combination that produces a color similar to the traditional Van Dyke brown. A pale shade of chrome yellow, cerulean blue, red lead, cadmium red, and cobalt violet were found on occasion, but not in every portrait examined. There is a more limited selection of blue and yellow pigments in the later portraits than in the earlier ones. This narrow range of blues,yellows, and greens in his palette went some way to create a color harmony and to fix a cool or a warm overall tone to each painting. Sargent mixed lighter colors such as flesh tones by adding to lead white, vermilion, and a selection of other pigments including bone black, on occasion rose madder, and even green viridian. Mixing them together roughly on the palette, he then worked them into and onto adjacent brushstrokes on the canvas to give more subtle variations in tone. [https://www.jssgallery.org/Resources/Forum/Forum_Sargent%27s_Method.htm#Photos] |
| inScheme | the:paintingNotes |
| prefLabel | Sargent's Watercolors Notes |
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