Like many representational artists I have a deep love and respect for the work of John Singer Sargent (1856-1925), an American expatriate artist, considered the “leading portrait painter of his generation.” While I’m amazed by the apparent effortlessness of his portraits, it’s the landscapes that have always inspired me most. He has a talent in capturing the essence of his subject, and the light upon it, in such an elegant, colorful way, that it inspires me to paint every time I see his work. Perhaps that’s the highest commendation an artist can achieve, that they make people want to be artists too. 

Richard Robinson, A Boat with a Golden Sail, oil on canvas, 15 x 15" (38 x 38 cm). After John Singer Sargent.

In this painting lesson I took my two all-time favorite Sargent paintings—San Vigilio. A Boat with Golden Sail and San Vigilio, Lake Garda, both depicting the same scene—and merged them together into a square format in order to make something new, while paying homage to Sargent’s work. 

Locanda San Vigilio, Lake Garda, Italy.

Along the way we learn about Sargent’s techniques and tools, his life and loves. This is the modern equivalent of Sargent’s palette: ivory black, burnt sienna, Venetian red, permanent alizarin, cadmium red light, cadmium orange, cadmium yellow light, yellow ochre, phthalo green, ultramarine blue. cobalt violet and titanium/zinc white (permalba white). 

Student critiques

 

Elmari Van Zyl

Great work Elmari! Very accurate color and drawing, rich brushwork and interesting textural variety. Lovely. I would just like to see a little more care in the foreground rocks. Consider the direction of the light and how that will shape the jetty as a whole and also each block. Be clear about the line at which the rocks enter the water. That could be achieved with a blue-green glaze at this point. Again, beautiful work.

 

Martha Waardenburg

Good effort Martha, I can see you’ve paid particular attention to the drawing and brushwork. Just three things I’d look at changing: The black boat needs to extend further left to be the right size for that big sail. The foreground rock wall is making a pattern of shapes that are too similar. Similarly, the four trees behind the building are shaped and placed in a pattern, as are the four windows. In short, avoid making patterns because they are less interesting than off-beat rhythms.

 

Martin Soja

Some great work in here, Martin. I love how you’ve taken care with the modeling of the foreground wall, and the drawing overall is very good. I’d like to see you take another shot at the reflections of the yellow sail in the water. Don’t be afraid to scrape off and try again until you’re fully happy with it. The hull of the white boat should be slightly deeper and bring the reflection of the sail there a little closer to the boat too.

 

Dan Troest Birkemose

Wow, that’s beautifully done. Look at that lively brushwork! Makes we want to get my paints out. Gorgeous.

 

Scott Dyer

Nice work, Scott. Vibrant colors contrast nicely against all the dark water, though I would like to see a little more color and light in the reflections. Foreground rocks are well modeled. I’d like to see as much care given to the angles of the windows and walls on the left as they’re a bit wonky at the moment. Check it out in a mirror and you’ll see it anew.