Add files from ibiblio as of 2025-03-07 21:42:11HEADmain

6 files changed, 9 insertions, 2172 deletions

diff --git a/42828.txt b/42828-0.txt
index e3de0c3..7c30842 100644
--- a/42828.txt
+++ b/42828-0.txt
@@ -1,40 +1,4 @@
-The Project Gutenberg EBook of Sargent, by T. Martin Wood
-
-This eBook is for the use of anyone anywhere at no cost and with
-almost no restrictions whatsoever.  You may copy it, give it away or
-re-use it under the terms of the Project Gutenberg License included
-with this eBook or online at www.gutenberg.org
-
-
-Title: Sargent
-
-Author: T. Martin Wood
-
-Editor: T. Leman Hare
-
-Release Date: May 28, 2013 [EBook #42828]
-
-Language: English
-
-Character set encoding: ASCII
-
-*** START OF THIS PROJECT GUTENBERG EBOOK SARGENT ***
-
-
-
-
-Produced by sp1nd, Ernest Schaal, and the Online Distributed
-Proofreading Team at http://www.pgdp.net (This file was
-produced from images generously made available by The
-Internet Archive)
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+*** START OF THE PROJECT GUTENBERG EBOOK 42828 ***
 
     MASTERPIECES
     IN COLOUR
@@ -77,7 +41,7 @@ Internet Archive)
                 WHISTLER.           T. MARTIN WOOD.
                 HOLBEIN.            S. L. BENSUSAN.
                 BURNE-JONES.        A. LYS BALDRY.
-                VIGEE LE BRUN.      C. HALDANE MACFALL.
+                VIGÉE LE BRUN.      C. HALDANE MACFALL.
                 CHARDIN.            PAUL G. KONODY.
                 FRAGONARD.          C. HALDANE MACFALL.
                 MEMLINC.            W. H. J. & J. C. WEALE.
@@ -915,7 +879,7 @@ encompassing art nothing has gone out of fashion--no, not even the
 farthingale which the children wear. It was early in the eighties that
 the Spanish visit ended and Sargent worked in Paris, already a man of
 note, for the Carolus Duran portrait had been followed by "Portrait of a
-Young Lady," exhibited in 1881, and "En route pour la Peche" and "Smoke
+Young Lady," exhibited in 1881, and "En route pour la Pêche" and "Smoke
 of Ambergris." In 1882 he exhibited the _tour de force_ "El Jaleo," the
 sensation of the season, and immediately afterwards the "Portraits of
 Children"--the four children in a dimly-lighted hall, one of the most
@@ -995,361 +959,4 @@ unless otherwise noted.
 
 End of the Project Gutenberg EBook of Sargent, by T. Martin Wood
 
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+*** END OF THE PROJECT GUTENBERG EBOOK 42828 ***
diff --git a/42828-8.txt b/42828-8.txt
deleted file mode 100644
index a914f78..0000000
--- a/42828-8.txt
+++ /dev/null
@@ -1,1355 +0,0 @@
-The Project Gutenberg EBook of Sargent, by T. Martin Wood
-
-This eBook is for the use of anyone anywhere at no cost and with
-almost no restrictions whatsoever.  You may copy it, give it away or
-re-use it under the terms of the Project Gutenberg License included
-with this eBook or online at www.gutenberg.org
-
-
-Title: Sargent
-
-Author: T. Martin Wood
-
-Editor: T. Leman Hare
-
-Release Date: May 28, 2013 [EBook #42828]
-
-Language: English
-
-Character set encoding: ISO-8859-1
-
-*** START OF THIS PROJECT GUTENBERG EBOOK SARGENT ***
-
-
-
-
-Produced by sp1nd, Ernest Schaal, and the Online Distributed
-Proofreading Team at http://www.pgdp.net (This file was
-produced from images generously made available by The
-Internet Archive)
-
-
-
-
-
-
-
-
-
-    MASTERPIECES
-    IN COLOUR
-    EDITED BY --
-    T. LEMAN HARE
-
-
-                                SARGENT
-
-
-
-
-                           IN THE SAME SERIES
-
-
-                  ARTIST.               AUTHOR.
-                VELAZQUEZ.          S. L. BENSUSAN.
-                REYNOLDS.           S. L. BENSUSAN.
-                TURNER.             C. LEWIS HIND.
-                ROMNEY.             C. LEWIS HIND.
-                GREUZE.             ALYS EYRE MACKLIN.
-                BOTTICELLI.         HENRY B. BINNS.
-                ROSSETTI.           LUCIEN PISSARRO.
-                BELLINI.            GEORGE HAY.
-                FRA ANGELICO.       JAMES MASON.
-                REMBRANDT.          JOSEF ISRAELS.
-                LEIGHTON.           A. LYS BALDRY.
-                RAPHAEL.            PAUL G. KONODY.
-                HOLMAN HUNT.        MARY E. COLERIDGE.
-                TITIAN.             S. L. BENSUSAN.
-                MILLAIS.            A. LYS BALDRY.
-                CARLO DOLCI.        GEORGE HAY.
-                GAINSBOROUGH.       MAX ROTHSCHILD.
-                TINTORETTO.         S. L. BENSUSAN.
-                LUINI.              JAMES MASON.
-                FRANZ HALS.         EDGCUMBE STALEY.
-                VAN DYCK.           PERCY M. TURNER.
-                LEONARDO DA VINCI.  M. W. BROCKWELL.
-                RUBENS.             S. L. BENSUSAN.
-                WHISTLER.           T. MARTIN WOOD.
-                HOLBEIN.            S. L. BENSUSAN.
-                BURNE-JONES.        A. LYS BALDRY.
-                VIGÉE LE BRUN.      C. HALDANE MACFALL.
-                CHARDIN.            PAUL G. KONODY.
-                FRAGONARD.          C. HALDANE MACFALL.
-                MEMLINC.            W. H. J. & J. C. WEALE.
-                CONSTABLE.          C. LEWIS HIND.
-                RAEBURN.            JAMES L. CAW.
-                JOHN S. SARGENT     T. MARTIN WOOD.
-
-                        _Others in Preparation._
-
-
-
-
-    [Illustration: PLATE I.--LORD RIBBLESDALE. Frontispiece
-
-                (In the collection of Lord Ribblesdale)
-
-    A portrait of the author of "The Queen's Hounds and Stag-hunting
-    Recollections": esteemed one of the finest of Sargent's works.]
-
-
-
-
-                                SARGENT
-
-                           BY T. MARTIN WOOD
-
-                         ILLUSTRATED WITH EIGHT
-                        REPRODUCTIONS IN COLOUR
-
-                           [Illustration: IN
-                            SEMPITERNUM.]
-
-                       LONDON: T. C. & E. C. JACK
-                   NEW YORK: FREDERICK A. STOKES CO.
-
-
-
-
-                         LIST OF ILLUSTRATIONS
-
-
-    Plate                                                       Page
-
-      I. Lord Ribblesdale                               Frontispiece
-            In the collection of Lord Ribblesdale
-
-      II. La Carmencita                                           14
-            In the Luxembourg, Paris
-
-     III. Ellen Terry as "Lady Macbeth"                           24
-            In the National Gallery, Millbank
-
-      IV. W. Graham Robertson, Esq.                               34
-            In the collection of W. Graham Robertson, Esq.
-
-       V. Carnation Lily, Lily Rose                               40
-            In the National Gallery, Millbank
-
-      VI. Lady Elcho, Mrs. Adeane, and Lady Tennant               50
-            In the collection of the Hon. Percy Wyndham
-
-     VII. The Misses Wertheimer                                   60
-            In the collection of Asher Wertheimer, Esq.
-
-    VIII. Mrs. A. L. Langman                                      70
-            In the collection of A. L. Langman, Esq., C.M.G.
-
-
-
-
-                             [Illustration]
-
-
-                                   I
-
-
-Was there ever a more romantic time than our own, or a people who took
-everything more matter-of-factly? The paintings of a period contain all
-its enthusiasms and illusions. We remember the eighteenth century--at
-least in England--by Reynolds' and Gainsborough's art, the seventeenth
-century by Van Dyck's; and when we remember the eighteenth century in
-France, it is to think of Watteau, who expressed what his world,
-drifting towards disaster, cared about--an illusion of a never-ending
-summer's day. These names are expressive of their times, and Sargent's
-art, with disillusioned outlook, mirrors an obvious aspect of English
-life to-day. Above all others he has taken his world as it is, with the
-delight in life, in its everyday appearance, with which the
-representative artists of any period have been gifted.
-
-Perhaps the next generation will feel that it owes more to him
-than to any painter of this time. For the ephemeralities of the
-moment in costume and fashion are the blossoms in which life seeks
-expression--whatever its fruit. It is agreed that everything is
-expression, from a spring bud bursting to a ribbon worn for a moment
-against a woman's hair. And who deals with the surface of life deals
-with realities, for the rest is guess-work.
-
-Often enough this content to take the world as it is may result in
-things which do not charm us, and perhaps Sargent has never been one of
-those as fastidious in selection as in delineation. Sometimes he gives
-his sitters away--for there are traits in human nature, belief in
-thevery existence of which we are always anxious to forego. Nothing
-escapes him that is written in the face. Yet he is not cynical, but man
-of the world, the felicity of living in a world where everything is
-charming being only for those with the gift to live in one of their own
-making.
-
-The side of life which he expresses is that in which time seems given
-over wholly to social amenities, long afternoons spent in pleasant
-intercourse, hours well ordered and protected, so that the most fragrant
-qualities in human nature can if they will spring to life. We almost
-hear the teacups in the other room, and none of his sitters seem really
-alone. We feel they have left the life to which they belong to sit to
-the artist but only for an hour or so. The social world to which they
-belong will absorb them again. This world Sargent paints. Even in many
-of his single figures we are conscious always of its existence in the
-background. In portrait after portrait there is scarcely a suggestion of
-self-consciousness--but the man or the woman just at the moment of
-posing, as if environed still in an atmosphere of their own, and of the
-world from which they have withdrawn for the sitting. For it is
-Sargent's gift to remove the impression that his sitter has posed, that
-the dress was arranged, and his gift to arrest his sitter's habitual
-gesture, the impression of sparkling stones, almost the clink of bangles
-at the wrist in expression of the moment. Most unjustly was it said that
-he could not paint pretty women. It would appear to be within his power
-to paint almost anything that has its existence in fact, and if in a
-matter-of-fact way, what more to the point if the facts are so beautiful
-that fancy itself would have to defer?
-
-    [Illustration: PLATE II.--LA CARMENCITA
-
-                       (In the Luxembourg, Paris)
-
-    Painting of a Spanish Dancer. Exhibited at the Royal Academy in
-    1891; acquired by the French Government.]
-
-Supreme is the art of Sargent in its appreciation of those pleasures
-which would almost seem for art alone: pearls upon the colour of flesh;
-slight transitions of colour charged with great secrets of beauty;
-pearls painted as they would be regarded by a lover, as ten thousand
-times more beautiful than if they were lying in a box. And the touches
-of the brush--for Sargent shows every touch--breathe sympathy with every
-change of colour as the chain of pearls falls first across white silk
-and then across black velvet, and the little globes take to themselves
-new variations. A fan is opened, and upon the ivory sticks the light
-like silver trembles, a web of colour is spun across upon the open ribs;
-a book is half-open, it may be a Bradshaw, but we will believe it is a
-book of old verse, for everything that comes into the picture, the
-particular picture of which I am thinking, comes into a charmed circle.
-There are people for whom the opulent world of Sargent's art is their
-everyday world--whose life competes with the splendour of day-dreams.
-How essentially romantic--although so matter-of-fact--must be the art
-that leaves us with this impression! To be matter-of-fact is, we see,
-far from being unromantic; the reverse indeed is true, for with our face
-turned from the world romance vanishes.
-
-
-                                   II
-
-
-I once had occasion to call on Mr. Sargent, and was shown into a room
-with a black carpet. Only a colourist loves black, and sees it as a
-colour. And this room, so free from all that was novel and without
-associations, helped to explain to me why, though his method is so
-modern and of the moment, his pictures of aristocrats accommodate
-themselves to ancestral surroundings. For it is true that not only the
-face and the clothes of his sitters are given, but somehow, in the
-material of paint, their social position and their distinction. Now this
-is not by any means the least of Sargent's qualities; it is not a common
-one. Well-bred people drive up to the door of a modern studio almost
-visibly cloaked in the traditions of their race, but we are led to
-believe that they must have left all this behind them in the carriage
-when we see the portrait in an exhibition; the artist has shown nothing
-of it, has used his distinguished sitter simply as a model. For lack of
-inspiration novelties are proffered in its place, _L'art nouveau_ on
-canvas. Sargent does not paint modern people as if they all came into
-the world yesterday landed from an airship. No, he is like Van Dyck, who
-not only painted the beautiful clothes, the long white hands, and the
-bearing of his sitters sympathetically, but also the very atmosphere of
-the Court around them, painting, as all great painters do, invisible as
-well as visible things. If there is not in Sargent's painting courtesy
-of touch, if his method has not suavity in painting elegant people, this
-is rather as it should be in an age which trusts implicitly to the
-dressmaker and tailor for its elegance. And without a word here as to
-the worth of some of our modern aims, at least the age is too much in
-earnest for a pose. The poses and fripperies of the pictures of Van Dyck
-and Kneller are done with; and besides, the modern baronet is not
-anxious to show his hands, but is painted gloved, and Work goes
-unimmortalised. Meunier the sculptor and other modern artists having
-gloried in the war of labour, its victories go unsung; its victors
-surviving only as fashionable men.
-
-The portraits of some painters suggest nothing but the foreign
-atmosphere of a studio, but Sargent seems to meet his sitters in the
-atmosphere of their own daily, fashionable life, and that is why his
-pictures are romantic, for isn't there romance wherever there is wealth?
-The people whose wealth is such that they can take as their own
-background all the beautiful accessories of aristocratic tradition, are
-entitled to them if they like them well enough to spend their money in
-this way. And it is the peculiar gift of our age to recognise in
-ourselves the heirs of the centuries of beautiful handicrafts, which
-we close with our machines. They certainly are the heirs to any kind
-of beauty who have the imagination to enjoy it. And the imagination
-for past associations, who have this more than the Americans? We
-believe in England that all Americans are rich, that they can buy
-whatever they appreciate. So by the divine right of things going to
-those who appreciate them, the rich American is now, even as Sargent
-paints him, environed by old French and English things and their
-associations. And in connection with the accessories in Sargent's
-pictures, might we not ask the question whether it could not be
-considered a test of the worth or worthlessness, from a point of
-beauty, of any ornament or furniture whether it would survive
-representation in a picture? How much modern stuff we should have to
-sweep aside! And now that one thinks of it, modern pictures have
-left modern furniture rather severely alone--the painters have not
-been faithful to their brethren the makers of modern tables and
-chairs. Who is more modern than Sargent--and I am trying to think
-has he ever painted a modern room--that is, a room with modern
-things in it? The rooms that the most modern people live in are
-oddly enough the ones that are most old-fashioned, filled with
-eighteenth-century things. This, to reflect upon, has arisen through
-thinking about Sargent's interior paintings, which so very vividly and
-accurately reflect the attitude of the modern world to its own time.
-In that word modern, if we are not using it too often, we must seek
-the nature of Sargent's painting, its spirit; it is the most
-interesting thing in connection with painting to come as close as
-possible to its spirit. And what a test before any work of art, to ask
-whether it is worth a search for the incorporeal element; although in
-vain, in spite of Walter Pater, does painting aspire "towards the
-condition of music," since music is as ghostly as the ghosts that it
-contains.
-
-    [Illustration: PLATE III.--ELLEN TERRY AS "LADY MACBETH"
-
-                  (In the National Gallery, Millbank)
-
-    A portrait of Miss Ellen Terry purchased from the Sir Henry
-    Irving Sale at Christie's in 1907, and presented to the nation
-    by the late Sir Jos. Duveen, who also bequeathed a sum of money
-    for the erection of the Turner Room now being added to the
-    National Gallery at Millbank.]
-
-
-                                  III
-
-
-Dancing has been a theme always appealing to artists because of its
-rhythm, its grace in reality, its incarnation of femininity. It contains
-all the inspiration for a painter in any one moment of movement. No two
-things could be further removed from each other than Lancret's "La
-Camargo Dansant" and Sargent's "Carmencita," yet some alliterative
-resemblance in the name and some resemblance in the dancers' costumes
-bring these two figures together in my mind--the one the fairy
-artificial dancer, the princess of an unreal world, the other a vivid
-sinuous presentment. With both painters the costume has interested them
-as much almost as the figure, for the dress of a dancer, indeed the
-dress of any woman, is in a Sargent picture a part of herself, nothing
-mere dead matter, everything expressive, the brush having come at once
-to the secret that no one material thing is more spiritual than another.
-For ever Carmencita stands, waiting for the beginning of the music, just
-as La Camargo is caught upon the wing of movement, seeming to revive the
-music that was played for her and cheating us with a sense of a world
-happier than it is. In Carmencita we have that living beauty from which,
-after all, a dreamer must take every one of his dreams. It is Sargent's
-wisdom to stand thus close to life. In the sense of this reality, and
-the difficulty of approach to it with anything so constitutionally
-artificial as a painter's colours, do we apprise the real nature of his
-gifts. The roses on La Camargo's dress are artificial roses, but not
-more artificial than her face and hands. This figure is only a little
-nearer to nature than a china shepherdess, it is the fancy of a mind
-cheating itself with unrealities as realities. Sargent himself has
-painted artificial things, the rouge on lips, the powder on a face;
-since it is natural for some folk to rouge, that is the nature which he
-paints. Only an imaginative woman makes herself up. A painter with more
-imagination than Sargent would enter into the spirit of her arts.
-Sargent's betrayal of his fashionable sitters has frightened many, but
-if anything it has increased his vogue; for above everything an
-imaginative woman is curious to know what she looks like to others, and
-a Sargent's portrait is intimate, unflattering, perfectly candid but
-perfectly true as an answer to her question.
-
-Everything on the stage is artificial; what will this art, that has had
-of the reality of things all its strength and life, make of a purely
-theatrical picture--Miss Ellen Terry in a famous part? The artificiality
-of the stage always presents two aspects, that one in which we forget
-its artificiality and that other in which we remember it. And this
-latter, to my mind, is the aspect in which Sargent has painted this
-picture, without, as it were, ever stepping over the footlights into the
-world that only becomes real on the other side of them. But the
-exactness of his interpretation beautifully explains the scene.
-
-"Carnation Lily, Lily Rose" was painted in a garden by the Thames. Two
-children are lighting up the Chinese lanterns, and in their light and
-with flowers surrounding, Sargent sees for a moment life itself by
-accident made idyllic. The picture is Japanese in its sense of
-decoration, as if decoration and idyllic moments always went together.
-It would almost seem so from the study of art, for without exception,
-those painters who have been conscious of the ideal and idyllic element
-in life, have always shown this through composition which, whilst
-dealing with a real scene, has taken a little of the reality from it.
-There must be an essentially musical element in the art which takes a
-mood as well as a scene from nature, and brings us by way of real scenes
-to that imaginative country which exists in every nature-lover's mind; a
-country partly made up of the remembrance of other places which have
-been like the place where he now stands.
-
-Great tiger-lilies hang over the children. We almost expect in these
-surroundings pierettes or fantastic lovers, but we are kept close to the
-beauty of reality by the naturalism with which the children have been
-painted. Not one touch is given as a concession to their fairy and
-dramatic background, not one ribbon, nothing in the costume to enable
-them to enter into the patterned world of art as part of a design. For
-above everything the painter has wished to persuade us of life itself as
-a picture, and not of his ability to make these children the motifs of
-design. Their ordinariness irritates me personally, they do not seem
-quite to belong to their fairy land, but I recognise that this
-matter-of-factness peculiarly belongs to Sargent's art and am interested
-in the attitude that takes beauty so matter-of-factly.
-
-
-                                   IV
-
-
-No one has encountered the beauty of woman's face more casually than
-Sargent, no one has made us realise more fully its significance as a
-fact in the world. After all we had thought perhaps we were partly
-deceived in this matter by the illusions of poets and love-sick
-painters, but approaching it without ecstasy, art has not been closer to
-this beauty than here. I am looking at a half-tone reproduction of a
-lady by Sargent, wondering whether in the history of English portrait
-painting an artist has approached as closely to the thoughts of his
-sitter. The expression of the face is determined partly by thoughts
-within, partly by light without. And it is as if with the touch of a
-brush a thought could be intercepted as it passed the lips. This is the
-nearest approach that thought has ever had to material definition.
-Thought is the architect of her expression, by accuracy of painting it
-is copied, just as the back of a fan or bracelet is copied--things so
-material as that. So after all thoughts are not so far away from the
-material world with which we are in touch; are scarcely less visible
-than air. The impressionists have rendered air; and would it be too
-far-fetched to hint that the shadow on the lips almost serves to bridge
-one province with another, the atmosphere without and that which reigns
-within the sitter's mind. It is when Sargent's brush hesitates at the
-lips and eyes, at the threshold of intimate revelation, that we really
-begin to form an adequate conception of his genius. Yes, of things
-fleeting, a thought flitting across the face, interrupted gestures--and
-the mysterious suggestion of conversation hanging fire between the
-sitter and ourself, Sargent is the master. Sometimes a portrait painter
-will create a face on canvas, of pleasant expression, which is not like
-his sitter, and it is as if with every touch he could change the
-thoughts as he changes the expression in the face he is creating.
-
-    [Illustration: PLATE IV.--W. GRAHAM ROBERTSON, ESQ.
-
-            (In the collection of W. Graham Robertson, Esq.)
-
-    A portrait of the writer of the children's play "Pinkie and the
-    Fairies" and many charming children's books illustrated by their
-    author, himself an artist of high attainment.]
-
-Sargent's accuracy is such that the expression that passes over the face
-in his portraits is one which all the sitter's friends recognise; so
-close is he in touch with the delicate drawing, especially round the
-lips, that his brush never strays by one little bit into the realm of
-invention. There are other painters painting as carefully, faces as full
-of expression, who do not come near a likeness of their sitter. In what
-provinces close to nature are they wandering, since, striving to paint
-the face before them, they paint another face? We must not forget, in
-thinking of Sargent's greatness, that he unfailingly is in close touch
-with his sitters' expression, that is, almost with their thoughts.
-
-Although Sargent has proved in many landscapes his powers in that
-direction, he too well enters into the spirit of the portraiture to
-which he has put his hand to attempt to introduce naturalistic effects
-into backgrounds obviously painted in a London studio. The landscape
-background is sometimes charming if under these circumstances it remains
-a convention; for there are moments when nature herself is out of place,
-pictures in which human nature must be the only form of life,--with the
-exception perhaps of flowers, for these accompany human nature always,
-to revelries where sunlight is excluded, and even to the tomb. It is art
-of little carrying power that is exhausted upon some transcript of
-beautiful detail, colour of the glazes of a vase, a bunch of flowers.
-Sargent embraces difficulties one after another with energy unexpended.
-Physique, but never genius will give out. Energy of this order always
-goes with a generous, because very human, outlook; success on occasion
-being modified not through failure to accomplish, but through failure to
-respond.
-
-
-                                   V
-
-
-The life of a busy portrait painter, with its demand for inspiration
-every morning, is of the most exacting nature, and the quality of the
-painter's output must of necessity vary. The nervous strain is great,
-for sitters are capricious, and always is the temptation present to the
-one sin that is unforgivable, compromise with the Philistine--the
-concession of genius to stupidity, of perceptions nearly divine to
-ignorance. Genius has always had difficulty in working to order, yet
-nearly all the great portraiture work in the world has been done to
-order. But one imagines that the conditions under which the masterpieces
-of a modern painter, with so great a vogue as Sargent's, have been
-produced must be unparalleled by anything in the history of ancient
-painting. A crowd streamed through the studios of Gainsborough,
-Reynolds, and Romney to be painted, but the world was smaller then, and
-their art was more easily done. They worked within a convention narrower
-than Sargent's, compromising with nature at the very start; a convention
-more beautiful than his, a garden, beautiful because it was confined and
-seen in an accustomed light. If things are beautiful at all they become
-more so when they are no longer unaccustomed, when they fit in with an
-old frame of mind. Sargent deals with the unaccustomed--in which at
-first perhaps we always see the ugly--whilst, as we have said, he does
-not destroy, as the vandalistic art of some painters does, the
-connection between the past and present. It is the present which his art
-embraces, but we might almost say we are never thoroughly accustomed to
-the present until it has become the past. So to us Sargent's art is not
-as beautiful as Gainsborough's, for it has constantly to throw over some
-old form of perfection to embrace a new difficulty. In the eighteenth
-century there was less variety in the life which art encountered. The
-life of even a Gainsborough or a Reynolds would be circumscribed in just
-the same way that their art is circumscribed, uninterrupted in its mood,
-and beauty is to be found in uninterrupted moods.
-
-    [Illustration: PLATE V.--CARNATION LILY, LILY ROSE
-
-                  (In the National Gallery, Millbank)
-
-    This painting was bought for the nation under the terms of the
-    Chantrey Bequest in 1887, seven years previous to the painter's
-    election to associateship of the Royal Academy.]
-
-
-                                   VI
-
-
-Something should now be said of Sargent's method--of that which is
-spoken of as his technique. And of method, it is not something to be
-separated from the painter's temperament, it is always autographic.
-Somehow, temperament shows even in a person's handwriting, giving it
-what is really its style, though the fashion of writing imposed upon a
-pupil by his master is also called a style. In art there is no word that
-is oftener debated. And of those who speak most of style in their own
-work, the measure of their self-consciousness in the matter is often the
-measure of their distance from it. They are in the position of a
-schoolboy taking writing lessons, and their style, if ever they are to
-have one, does not begin until thinking and painting have become for
-them almost one process. But this is a difficult matter to make clear,
-and apology should perhaps be forthcoming for touching on so debatable a
-point thus hurriedly. I may have said something perhaps to convey to the
-lay reader the significance of the particular method of treating his
-subjects which we identify with Sargent. The pupil of Carolus Duran, his
-method was formed under the most modern influences; whatever effect
-quite another kind of training might have had on Sargent, still nothing
-but the traceable element of self would have determined for us his
-style. The method of applying paint to canvas has always resolved itself
-into more or less a personal question, though certain schools are to be
-identified with different ways of seeing; every method is a convention,
-and the difference of conventions always one of vision, affecting
-handling only in the sense that it has to be accommodated to the vision.
-It would be out of place here, perhaps, and far too technical, to define
-the difference between such a method as Sargent's and say that of
-Pre-Raphaelitism. But roughly, the Pre-Raphaelite concentrates on each
-object. For each object, say in a room, is in turn his subject as he
-paints that room. The impressionist, Sargent, only has the one subject,
-that room, the different objects in it explaining themselves only in so
-far as their surfaces and character are defined in the general
-impression by the way they take the light--in short, almost an
-impression as it would be received on a lens. If we remember all this we
-can appreciate the extreme sensitiveness both of Sargent's vision and
-touch. For his brush conveys almost with the one touch--so spontaneous
-in feeling is his work--not only the amount but the shape of the light
-on any surface. Thus the shapes of everything in the picture are finally
-resolved, and we might also say without curiosity as to their causes. We
-are given the impression, which would have been our own impression:
-since in regard to a portrait, for instance, when we meet a person our
-curiosity does not immediately extend to such details as the character
-and number of buttons on his coat. With this method always goes
-spontaneity, Sargent's pre-eminent gift. He values it so highly that he
-does not scruple to recommence a picture more than once and carry it
-through again in the one mood, if in the first instance his art may have
-miscarried, not permitting himself to doctor up the first attempt. To
-the constant sense of freshness in his work which such a way of working
-must imply, I think a great measure of his vogue is to be attributed,
-though others have coloured more prettily, flattered more, and
-subordinated themselves to the amiable ambitions of their sitters.
-
-
-                                  VII
-
-
-Is it a fancy?--but I see a resemblance between the art of Sargent and
-that in writing of Mr. Henry James. The same pleasure in nuances of
-effect in detail, and the readiness to turn to the life at hand for
-this. To enjoy Sargent is above all to appreciate the means by which he
-obtains effect in detail, the economy of colour and of brush marks with
-which he deceives the eye, and the quality of subtle colour in the
-interpretation of minor phenomena. On the large scale, in the general
-effect, the quality of his colour is sometimes uninviting. But when at
-its best it takes the everyday colour of things as if it was colour,
-without the hysterical exaggeration with which so much youthful
-contemporary art attempts to cheat itself and other people. If Sargent's
-admirers do not claim that he sees all the colour there is in things,
-they claim for him that he sees colour and has the reverence for reality
-which prevents a tawdry emphasis upon it for the sake of sweetness of
-effect. And after the sweetmeat vagaries, which have followed in the
-wake of Whistler, by those without that master's self-control, this is
-refreshing.
-
-Sargent's brush seems to trifle with things that are trifling, to
-proceed thoughtfully in its approach to lips and eyes. In painting
-accessories around his sitters there is the accommodation of touch to
-the importance of the objects suggested, and nowadays, since interior
-painting is the fashion--to suit the taste of a young man of genius
-imposing his peculiar gift upon the time--there are many portraits where
-the sitter is brought into line with an elaborate setting out of _objets
-d'art_, the painter's pleasure in the treatment of these manifesting
-itself sometimes at the sitter's expense. Translating everything by the
-methods we have described, Sargent preserves throughout his pictures a
-certain quality of paint. The impression of the characteristic surface
-of any material is made within this quality, by the responsiveness of
-his brush to the subtlest modification of effect which differentiates
-between the nature of one surface and another, as they are influenced by
-the light upon them at the moment. There are painters who do not
-translate reality into paint in this way, but who have striven to
-imitate the surface qualities of objects by varying, imitative ways of
-applying their paint. Sargent is not this kind of realist.
-
-    [Illustration: PLATE VI.--LADY ELCHO, MRS. ADEANE, AND LADY
-    TENNANT
-
-             (In the collection of the Hon. Percy Wyndham)
-
-    A portrait group of the daughters of the Hon. Percy Wyndham. In
-    the background is the famous portrait of Lady Wyndham, mother of
-    the Hon. Percy Wyndham, painted by the late G. F. Watts,
-    O.M.R.A.]
-
-He is a realist in the sense that Goya, the great Spanish painter of
-the eighteenth century, was one, for the Spaniard had just such an
-eagerness to come closer to the sense of life than the close imitation
-of its outside could bring him. Sargent is more polite, less impetuous,
-but still it is life as it is, that quickens his brush and informs all
-his virtuosity. His technique presents life vividly, but presents it to
-us with a sense of accomplishment in art, the equivalent of the
-accomplished art of living of the majority of his sitters. I am thinking
-of a portrait of a lady, and she is turning the leaves of a book, and in
-the lowered eyes, and the movement of the hand, there is more than
-arrested movement, there is an expression of an attitude consciously
-assumed which ordinarily would have been an unconscious one, and so
-accurate is the painting, that the sitter is detected as it were in this
-self-consciousness. In portraits of a ceremonial order, for people to
-sit in a group with a pleasant indispensable air of naturalness, is of
-course an affair on the artist's part of very thoughtful arrangement.
-But while composition should not betray the affectation of natural
-movement, movement must not be conveyed in a merely sensational,
-snapshot manner. For the slightest reflection on this matter will betray
-to us that in the latter pretension we are cheated, since we cannot fail
-to remember that to complete the canvas the sitter must have recovered
-the pose day after day, hour after hour, in the studio. Sargent's
-instincts are so tuned to the appropriate, having the tact which itself
-is art, that whilst in this kind of portraiture we do not question the
-grouping or the movement of his sitters as unreal, we do not accept it
-as quite natural. We instinctively know that in proportion as it is made
-to look too natural it would be unreal, untrue to the conditions which
-the painter's art actually encountered. Sargent, who permits nothing to
-stand between him and nature, will not permit such an inartistic lie to
-stand between us and the sincerity of his painting. He does not betray
-us in his love of what is of the moment, by giving us sham of this kind
-instead of the real thing.
-
-At every point at which we take his art and examine it, the evidence all
-points to one form of success. The sitters posing are really posing,
-their action is not even made unnaturally real as we have shown, and in
-the distances in the room round them, there is the reality of space
-dividing them from things at the other end of the room. Reality, within
-the confines of the particular truths to which his method is subject,
-has been the evident intention all through his art. From this standpoint
-it often compels admiration in cases where it would have to be withdrawn
-were we substituting in our mind another ideal, examining his work, for
-instance, only in the light of a sensitive colour beauty which the
-painter has not put first and foremost. Some artists have embraced
-reality only as it justified their imagination. If we look on Sargent's
-art for anything inward except that which looks through the eyes and
-determines the smile of his sitter, we shall find our sympathies break
-down. Unnecessary perhaps to say this, yet it were as well to make quite
-clear the light in which we should regard the work of an artist who has
-wholly succeeded in self-expression, the only known form of success in
-art.
-
-In analysing some men's work, we wish above all to know them, to know
-the mind that thus environs itself. With others it is their art which
-tempts us to further and further knowledge of its truths while, as with
-Shakespeare, the artist behind it becomes impersonal. Thus it is with
-Sargent's art. It is true that if we wish to know an artist we can never
-under any circumstances become more intimate with him than in his art,
-whether we find him in it far away in remote valleys or at the centre of
-fashionable life. And this though the dreamer may be a man of fashion
-and the painter of society live a life retired.
-
-Of Sargent's water-colours, much might be said. To some extent they
-explain his oils, yet he seems to allow himself in them a greater
-freedom, just as the medium itself is freer than that of oils--more
-accidental, and the masters of this art control its propensity for
-accidental effect as its very spirit, guiding it with skill to results
-which baffle and perplex by the ingenuity with which they give illusion.
-First, as last, a painter has to accept the fact that he conveys nothing
-except by illusion; that he can never bring his easel so close to the
-subject, or his materials to such minuteness of touch, that his art
-becomes pure imitation; nor can he secure the adjustment of proportion
-between a large subject and a small panel which would give in every case
-such imitation. The supreme artist accepts the standpoint first instead
-of last, and the greater his art becomes, the greater his power in its
-mysterious control of effect.
-
-
-                                  VIII
-
-
-There are some painters whose work we may personally wholly
-dislike--dislike their outlook--even our favourite subjects becoming
-intolerable to us in their art. It is something in their nature
-antipathetic to our own. Of course, mediocre work does not assume such
-proportions in our mind. Then there are painters who, through some
-affinity of temperament with our own, make everything their art touches
-pleasant to us. And then there are the impersonal artists, Velazquez,
-Millais, and Sargent, taking apparently quite an impersonal view of
-life. Sargent's world is everybody's world, and if we are affected one
-way or another by it, it is as life affects us.
-
-One has heard a painter say, "I can paint those things because I love
-them." Judged by his treatment of so many things, of nearly everything,
-how much must Sargent love life. One man can paint flowers and another
-marble--Sargent paints everything; and, to paraphrase, almost it might
-be said that what he doesn't paint isn't worth painting. But all this is
-nothing if he never penetrates, as Meissonier and others never
-penetrated, below the surface; if he gave no symbols in his art of
-things invisible.
-
-    [Illustration: PLATE VII.--THE MISSES WERTHEIMER
-
-             (In the collection of Asher Wertheimer, Esq.)
-
-    Portraits of the daughters of Asher Wertheimer, Esq., the
-    eminent art-expert. Mr. Wertheimer is himself the subject of one
-    of the best of Sargent's portraits.]
-
-We like some of the subjects he has painted, others we dislike so much
-that we wonder he has painted them; just as in life there are people and
-surroundings to which we are attracted, and others from whom we keep
-away.
-
-To the realist by temperament the effect of the details of any scene
-accepted direct from nature provide exciting inspiration, and he least
-of all is likely to turn to decorative composition, which, with its
-resemblance to a form imposed in verse, only aids in the interpretation
-of the subject in proportion as it is imaginatively inspired. A painter
-pre-occupied with the opportunities which any incident may offer for the
-interpretation of subtleties, will often accept any scene from nature
-and almost any point of view as composition. For the old formulas of
-composition--of the time when composition was regarded as something to
-be taught--went with a decorative conception of things, was in itself a
-form of decoration. And whilst it has been said that all art is
-decorative, it will perhaps be found that the naturalistic painter is
-too much excited with incident to scheme much for a rhythmic
-presentation of it in the frame. Such a canvas as Sargent's "Salmon
-Fishing in Norway," lately exhibited in the McCulloch collection, a
-portrait painted in the open, of a youth resting on the bank of a river
-with caught salmon and tackle beside him, the centre of a skilfully
-painted piece of landscape, is a case in point. The difficulties which
-subjects have presented have often seemed Sargent's inspiration in
-landscape: rocks presenting surfaces to the light with a thousand
-variations; the wet basins of bronze fountains receiving coloured
-reflections and the diamond lights in the fountain splashes; grey
-architecture with its soft shadows, architecture white in the sun with
-its cool blue shadows, like fragments of night in the doorways. It is
-this mysterious sensation of light and shadow alternating everywhere,
-changing the colour of the day itself as the day advances, which Sargent
-meets. He is one of the few painters who have faced the noon. He has
-this great command of art's slender resources, and he is matter-of-fact
-enough to be happy at this uncompromising time of day, unbelieved in by
-the workers, so inconsiderate to the lazy with its heat. The noon has
-not many with its praises, and "all great art is praise." Painters have
-got up at dawn to communicate to us its everyday recurring freshness, as
-of an eternal spring, and has not evening always been the painter's
-hour? Sargent has faced the noon, which demands so much sensitiveness
-that the over-sensitive shrink. His brush has given it in water-colours
-the finest interpretation it has yet received.
-
-
-                                   IX
-
-
-To go back to the matter of composition again. In his portrait groups,
-where the mere fact that the sitters have to be grouped implies that he
-is not dealing from the start with an impression direct, we find he is a
-master of the finest composition, as in his group of Mrs. Carl Meyer and
-children. And yet to one who will take not one touch with his brush from
-what is not before him, such a view of his subject must be incalculable
-in its difficulties.
-
-The painter has never made a passage of painting the excuse for
-incongruity. The arrangements in his pictures are always probable. It is
-legitimate in many cases that they should only be imaginatively
-probable. Any arrangement is probable in a studio, and affording
-themselves too much licence in this respect some painters wonder why the
-public are inclined to discredit most of what they do. The logical
-quality, the sanity of Sargent's art is yet another reason for its
-vogue; it has not the unreasonableness of studio production, it commends
-itself to a world that perhaps is not wrong in assuming that the
-artistic licence is applied for by those who are not sane. Sargent has
-on occasion had to resort to all sorts of devices to obtain effects
-and composition that he has desired, but he has always kept faith with
-the public, and had the true artist's regard for their illusions. He
-allows his sitters to wear their best clothes, but he never dresses
-them up; no, to please him they must wholly belong to the life of
-which they are a part, it is the attitude in which they interest him
-and all of us. We have then to think of Sargent not only as a painter,
-but as the maker of human documents--like Balzac, the creator of
-imperishable characters--with this advantage over Balzac, that all his
-characters have especially sat to him. It is how posterity will
-undoubtedly regard this array of brilliant pictures. Of the people they
-will know nothing but the legend of their actions and Sargent's record
-of their face. We have undoubtedly felt that when a man of real
-distinction of mind has worn them, the top hat and cylindrical trouser
-leg were not so bad. They have indeed, under the influence of
-personality, seemed on occasions the most august and distinguished
-garments in the world. But there must come disillusion, the humour of it
-all will some day dawn, but it will not be before a Sargent picture. He
-has at any rate immortalised those things, just as Velazquez has made
-beautiful for ever the outrageous clothes in which his Infantas were
-imprisoned. We are reconciled to such things in art by the same process
-as we are in life, in Sargent's case by the unforgettable rendering of
-the distinction of many of his sitters.
-
-
-                                   X
-
-
-It is the work of the secondary artist that is always perfect--of its
-sort; for it will not accept its reward, to wit, the finished picture,
-until the last effort has been expended. With the masters of the first
-order, it is otherwise. We have said they paint as they think; who but
-the amateur always thinks at his best? When a man's art has become a
-part of him, it suffers with his moods. He always works, and his work is
-always his companion, an indulgence. In his exalted moments it rises to
-heights by which we estimate his genius, but which sensible criticism
-does not expect him to live up to, any more than we expect a brilliant
-conversationalist always to be equally brilliant. This is why a master's
-work is always so interesting. That it has become so flexible an
-expression of his own nature is its charm, if we really regard it as
-art, and do not look upon the artist as a manufacturer who must be
-reliable, who having once turned out of his workshop a work of
-surpassing perfection, must be expected to keep to that standard or be
-classed with the defaulting tradesman whose goods do not come up to his
-sample. A painter makes or mars his own reputation by the care or
-carelessness of his work, but it is his own work, and he is not under
-any obligation to us to keep it up to a certain standard if it does not
-interest him to sacrifice everything for that standard. Sargent's work
-has been splendidly unequal. Sometimes it has been disillusioned, tired,
-at other times all his energy has seemed gathered up into a _tour de
-force_. An intensity there is about Sargent's earlier work which we
-cannot find in some of his later pictures, sureness of itself has
-brought freedom and with it freedom's qualities, which we must take
-pleasure in for their own sake.
-
-    [Illustration: PLATE VIII.--MRS. A. L. LANGMAN
-
-           (In the collection of A. L. Langman, Esq., C.M.G.)
-
-    A portrait of the wife of A. L. Langman, Esq., C.M.G., who
-    served with the Langman Field Hospital, in connection with the
-    equipment of which for the South African War his father, Sir
-    John Langman, Bart., is remembered.]
-
-It is frequently enough the weakness of painters to return constantly in
-their art to some particular gesture or arrangement in which their
-mastery is complete. This has not been the case with Sargent; instead,
-his mastery has completed itself only through a constant encounter with
-new difficulties.
-
-A quality of all great art is reticence, something which will never let
-the master, to whom it is not disastrous to be careless, be so; for
-carelessness nearly always means over-statement, and exaggeration. Ah!
-just the qualities if a work of art is to arrest attention in a modern
-exhibition. A common question at the Royal Academy is "Where are the
-Sargents?" by some enthusiastic visitor who has passed them several
-times. No, Sargent's victories do not startle, winged victories do not,
-but advertisements do.
-
-
-                                   XI
-
-
-Sargent was born of American parents in Florence in 1856, and passed his
-boyhood there. No art, it would seem at first, is further away than his
-from all the Florentine traditions, and yet in the decorative colour
-values, which give distinction to his finest works, he is the child of
-Florence. The Renaissance attitude towards life itself was highly
-imaginative, so into visionary art reality was carried. Consulting the
-origin of all their visions, the Florentines returned imaginatively to
-what was real. It is the beauty of reality which is the fervour of their
-great designs, and as a humanist, Sargent is their descendant.
-
-When, at the age of nineteen, he came to Paris, he was already, we are
-told, an artist of promise, and he went to Carolus Duran with youth's
-conscious, ardent necessity of embracing a fresh view of the world
-altogether. The lighter touch of Carolus Duran, the worldly painting,
-the lively art of things living, if a superficial art, was refreshing,
-no doubt, to one accustomed only to the beautiful memories of ardour
-expressed five centuries before. And superficiality, demoralising to the
-superficial, could only give some added swiftness to a brush inclined to
-halt with too much intensity whilst life, its one enthusiasm, was racing
-by. He never experimented under Carolus Duran. He was beginning that
-unerring sensitiveness of painting, which is only learnt by drudgery,
-the almost luxuriously easy virtuosity, before the acquirement of which,
-complete freedom of expression cannot begin, or sympathy declare itself
-as from a well-played instrument.
-
-An artist with individuality is careless of asserting it, and it is
-perhaps just the one thing in the world which cannot but assert itself.
-Those who strive for originality through the unaccustomed may without
-hesitation be put down as those who are without confidence in their own
-nature. The individuality of Sargent, as striking as any in his day, is
-unself-consciously expressed. If we could strain from a work of art the
-self-conscious, which is always the unnatural element, all that ever
-gave it any force would still be left in it. Submitted to this test, how
-much so-called originality would crumble, while the individualism of
-Sargent still remained.
-
-When leaving the studio of Carolus Duran, he painted a portrait of that
-painter, a summing, as it were, of all he owed to him before he courted
-another influence. He went to Madrid, there to study the living elements
-of art in the school of a dead master, Velazquez, in whose life
-encompassing art nothing has gone out of fashion--no, not even the
-farthingale which the children wear. It was early in the eighties that
-the Spanish visit ended and Sargent worked in Paris, already a man of
-note, for the Carolus Duran portrait had been followed by "Portrait of a
-Young Lady," exhibited in 1881, and "En route pour la Pêche" and "Smoke
-of Ambergris." In 1882 he exhibited the _tour de force_ "El Jaleo," the
-sensation of the season, and immediately afterwards the "Portraits of
-Children"--the four children in a dimly-lighted hall, one of the most
-well-remembered of his pictures of that time. Then came the wonderful
-"Madame Gautreau." Paris was his headquarters but his visits to England
-were frequent, and they grew more frequent as the time went on and as
-his reputation grew in London. It was about half-a-dozen years after the
-Spanish visit that he came to this country to live here permanently and
-make his art our own. He was elected an Associate of the Royal Academy
-in 1894, a Royal Academician in 1897.
-
-
-                                  XII
-
-
-We should say something of Sargent's influence on contemporary art,
-which has been immense. It has been thought that, deceived by the
-brilliance of his results, with their great air of spontaneity, younger
-painters have been led astray. This, we believe, is a mistake. The
-weakest go to the wall, but it is probable that the example of Sargent
-has succeeded in lifting the whole standard of painting in the country,
-bringing--even the great incompetent, within measuring distance of a
-useful ideal; an ideal of sympathy disciplined with every touch, and an
-ideal of difficult things. Is not Art always difficult? It has been so
-to Sargent, with everything at his fingers' ends; with everything so
-much at his fingers' ends that under special circumstances he once
-completed a life-size three-quarter length portrait in a single day. He
-was in America, and had promised to paint the portrait. The sittings
-were put off, and at last the friend who was to sit was suddenly called
-away; but Sargent came with his materials in the morning, and the sitter
-gave him the day. They were probably both nearly dead at the end of it,
-but a large finished painting had been begun and ended.
-
-Sargent's countrymen have appreciated every manifestation of his gifts.
-Lately he exhibited eighty-three of his water-colours in Brooklyn. He
-will not part with them singly. Brooklyn enthusiastically bought the
-whole collection for its Art Museum.
-
-Fame has not spoilt his retiring nature, and even by his art a barrier
-is raised, in front of which the master will not show himself, but I
-hope it is an intimacy that we have established with him in his art.
-Mine is but the privilege of murmuring the introduction, and any charges
-to be brought against me must be laid at Sargent's door. For a great
-artist creates not only his art, but that which it inspires. This is
-indeed the mysterious province of artistic creation; the artist creating
-beyond his art that which comes into our minds through contact with it;
-so framing our thoughts and setting in motion waves infinitely continued
-in the thoughts that pass through every man to his companions.
-
-
-  The plates are printed by BEMROSE & SONS, LTD., Derby and London The
-                text at the BALLANTYNE PRESS, Edinburgh
-
-
-
-
-                           Transcriber Notes:
-
-Passages in italics were indicated by _underscores_.
-
-Small caps were replaced with ALL CAPS.
-
-Throughout the document, the oe ligature was replaced with "oe".
-
-The illustrations have been moved so that they do not break up
-paragraphs and so that they are next to the text they illustrate. Thus
-the page number of the illustration might not match the page number in
-the List of Illustrations.
-
-Errors in punctuation and inconsistent hyphenation were not corrected
-unless otherwise noted.
-
-
-
-
-
-
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       The Project Gutenberg eBook of Sargent, by T. MARTIN WOOD.
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-Title: Sargent
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+<div>*** START OF THE PROJECT GUTENBERG EBOOK 42828 ***</div>
 
 <div class="image-center" style="max-width: 300px;">
 <a name="front_cover" id="front_cover"></a>
@@ -244,7 +204,7 @@ RUBENS. <span class="ralignsc">S. L. Bensusan.</span><br />
 WHISTLER. <span class="ralignsc">T. Martin Wood.</span><br />
 HOLBEIN. <span class="ralignsc">S. L. Bensusan.</span><br />
 BURNE-JONES. <span class="ralignsc">A. Lys Baldry.</span><br />
-VIGÉE LE BRUN. <span class="ralignsc">C. Haldane MacFall.</span><br />
+VIGÉE LE BRUN. <span class="ralignsc">C. Haldane MacFall.</span><br />
 CHARDIN. <span class="ralignsc">Paul G. Konody.</span><br />
 FRAGONARD. <span class="ralignsc">C. Haldane MacFall.</span><br />
 MEMLINC. <span class="ralignsc">W. H. J. &amp; J. C. Weale.</span><br />
@@ -1613,7 +1573,7 @@ worked in Paris, already a man of note,
 for the Carolus Duran portrait had been
 followed by &quot;Portrait of a Young Lady,&quot;
 exhibited in 1881, and &quot;En route pour la
-Pêche&quot; and &quot;Smoke of Ambergris.&quot; In
+Pêche&quot; and &quot;Smoke of Ambergris.&quot; In
 1882 he exhibited the <i>tour de force</i> &quot;El
 Jaleo,&quot; the sensation of the season, and
 immediately afterwards the &quot;Portraits of
@@ -1711,382 +1671,7 @@ the List of Illustrations.</p>
 unless otherwise noted.</p>
 </div>
 
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