Review: You need to see these Sargent paintings in person to grasp the force of their immediacy
” because it demonstrates what the young painter had learned from Velázquez after his first trip to the Prado. It shows a dim hallway illuminated by bright light coming through an open door at its far end. On the hallway’s right-hand wall, Sargent captures light reflecting off picture and door frames with single brushstrokes so devastatingly deft, the sensation is like news of a windfall whispered in your ear.
The light in Spain is notoriously bright, and Sargent’s daytime pictures are as arresting as his dark interiors and night pictures. A, rarely seen outside of its home at the National Gallery of Victoria in Melbourne, Australia, shows a hospital at Granada. Sargent may have visited it because a travel guidebook deemed its Renaissance architecture worth a detour. But the picture is no mere memento.
Sargent’s oil paintings and his marvelous watercolors dramatize the differences between tonal painting and photography. Photographs serve up traces of light, fixed by chemicals. They are, in a sense, touchless. Paint is moved about with a brush held in a hand, connected to an arm, directed by a brain. Oil paint, in particular, sits up on the surface. It has textures, miniature peaks and troughs, variations in direction, thickness and speed of application.
His depictions, from his final trip to Spain in 1912, of Roma dwellings, olive groves, fishermen on Majorca and farm courtyards, are bravura displays. In all these pictures, the complexity of the light, often dappled by grape vines, thatched roofs or olive tree leaves, allows Sargent a freedom he didn’t permit himself in his finely observed portraits and fastidious architectural studies.
Sargent, who is the subject of a new biography — “The Grand Affair” — by Paul Fisher, was to painting as Roger Federer is to tennis. A maestro. It’s fair to say that he was not, generally speaking, a profound artist; he was too bewitched by the surface of things. But very few people have had more command over the process of moving paint around until it resembles the look and feel of things.
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