Years ago The Art Institute of Chicago was host to an impressive exhibit of paintings by the society painter John Singer Sargent. This writer was fortunate enough to be one of the privileged to attend this blockbuster exhibit. Galleries were overflowing with the expatriates’ commissioned oil and watercolor paintings and continuously stuffed with attendees viewing this massive collection of completed works. The exhibit not only changed the direction of my course of study but also began a personal pursuit of technical proficiency as well. And, it would be safe to say that after viewing the exhibit, any artist attending was effected exactly the same.

John Singer Sargent (1856-1925) was born in Florence to American parents. His mother supported and encouraged her young sons’ artistic talents. Success came quickly to the artist for, the inner circle of high society were most appreciative of his artistic talents. In addition to painting the aristocracy, Sargent’s cliental was made up mostly of International finance patrons that helped keep his painting calendar full.

In 1885 Sargent did take time out of his busy work schedule to paint with Monet in Giverny. However, while he considered joining the Impressionist group he never did because he could not agree with their chosen palette. At this point in time he was already a financial success as a portrait artist and not desirous of changing his very profitable painting mixtures to accommodate the independents philosophy. The Conservation Department of the Tate Museum states the artist’s painting palette of choice included: mars yellow, cadmium yellow, viridian, emerald green, vermilion, mars red, ultramarine or cobalt blue; sienna, mars brown and ivory black. While Monet’s and fellow Impressionists color choice mirrored those of Sargent’s it lacked the rejected ivory black pigment that the artist used in his shadows.

Claude Monet Painting by the Edge of a Wood	On the Verandah	Morning Walk

When not engaged with a commissioned oil painting assignment the artist used watercolors. These renderings are more spontaneous than his formal portraiture and and serve as prime examples of how well he had command over this medium. Sargent’s extraordinary use of an unconventional palette for these works is nothing short of brilliance. For, Sargent took advantage and obviously mastered the “modern colors” of his day, those being viridian, emerald and chrome green. "On the Verandah" is just one example of many watercolor renderings that serves to demonstrate the lush use of Windsor Newton’s Emerald Green. That same emerald green is seldom included on today’s watercolorist’s palette.

All who passed through this large exhibition experienced first hand Sargent’s proficiency with both oil and watercolor media. The oil paintings were masterfully executed and a pleasure to view. However, most impressive were the collection of exhibition watercolors; for, the color choice used to paint them radiated with brilliance and vibrancy.

The Art Historian 2009