For those of you who would like to experiment with his palette, the next section goes over the materials John Singer Sargent used in his work. John Singer Sargent used fine plain woven canvases toned with mid-tone cool gray-particularly for portraits. He used paints directly from tubes to mix the exact colors he wanted. His palette varied, but he regularly used cadmium yellow, vermilion, Mars red, Mars yellow, Mars brown, rose madder, sienna, ivory black, ultramarine blue, cobalt blue, viridian green, and emerald green. He used a copious amount of paint medium: linseed oil for dark colors and poppyseed oil for lighter colors. Sargent mixed flesh tones using a palette of ivory black, rose madder, and viridian green with lead white. Lead white was common at this time, but for safety reasons, I would not recommend it nowadays. Evidence indicate that John Singer Sargent used small (¼ inch or ½ inch) brushes. Studies further confirm that he saved the boldest strokes for last. I conclude that he started with big brushes, then moved to smaller brushes in the middle stages of the painting, and then finished them off with big brushes again. He varnished his paintings, which has led to the varnished paintings yellowing over time. www.explore-drawing-and-painting.com/John-Singer-Sargent.html Cheers fellow artists!
To anyone wondering what palette of colors Sargent actually used, lists do exist online, but its clear Sargent went through a variety of pigments throughout his career, adopting colors and casting away others. His main palette always included Lead white Pale chrome(cad yellow pale) Gold Ochre Vermillion (Cad Scarlet/red light) Venetian Red Cadmium Orange Burnt Sienna Raw Umber Alizarin Crimson Viridian Cobalt blue Fr. Ultramarine Ivory black Cobalt violet Various colors would come in as needed for studio works, but this was the colors found in Sargents plein air box, and what appears stained into his palettes. IMO I love the collectable sargent palette, but for $150 to get a reproduction of a palette another artist used, is like spending hundreds or thousands on getting the same type of guitar Jerry Garcia used. It might look good on your wall, but it will not make you a better artist. I feel like anyone with a band saw an a $10 piece of birch can make their own
I'm glad he confused the lot of you. Students and those new to painting need to Stop focusing on palettes like they are a secret formula to great painting. A master like sargent could paint the same painting using an almost infinite number of different colors. Its not about the colors you use (unless you are squeezing them out of the tube purely without mixing them at all) Its in the way you mix them which makes you a master of color
@@2adamast thats not true actually.. there are many many many terrible sargent paintings believe it or not. I remember seeing them in smaller museums sometimes. He struggled just like anyone. But generally not with color. In fact I'd say he struggled with values (light and dark) more than he did with color.
Don't worry about the "exact" colors he used. People focus far too much on thinking that it's the pigments which provide insight into the final product of a master. In reality you can use different pigments to make the same exact mixtures and the eye would never be able to tell the difference. Sargent never worked in pure out of the tube color in his figurative and portrait work which means the variety of grays he mixed on his palette can be mixed from any number of different base pigments.
@@devinmichaelroberts9954 Absolute Bullshit. Having painted in oils many studies of Sargents work I can disagree here, there are times he did use paint straight out of the tube. Variety of greys? Wth are you talking about.? Sargent used a similar limited palette to Zorn which was based on the Apelles pallette. Occasionally adding extra hues, but most of his colours were made from the limited palette.
As an artist I can say that, like many others here, one is not as interested in the piece of wood as much as the colors that comprised Sargeant's pallete. A piece of wood doesn't not speak to the character of the artist, at all, for it is merely a tool.
Amazing video, I was just searching this artist , because I found a book about his art in the university library and his art just struck me with his ecstatic colors.. Just amazing... but I just wanted to know what oil colors did he use in his colors exactly?
+Frank Mejia Im going to answer with my speculative, amateur answer. Sargent lived at an exciting time for painting: The industrial revolution had radically expanded the amount of colors available to artists, and American dye/paint makers played an important role in the discovery and manufacture of modern pigments. All the cadmiums are colors found in skin in natural light- cad red, cad yellow, cad orange, but these are pretty modern pigments and I don't know if he would have used them. Almost all the old reds were cinnabar related pigments. He likely used prussian blue (or possibly ultramarine?) to cool his colors off. Im guessing he used a tube of black (instead of mixing black) which used to be made from coal. Also, back in the day, academies and ateliers on either side of the atlantic would have taught to paint your underpainting in burnt umber, and to mix your greys with burnt umber, so that could be in there (although I don't see much burnt umber in his paintings). Sargent would have access to quinacridone violets and reds, and the old formulations of alizarin and English red that had arsenic in it. Those are my educated guesses! You really dont need much more than five tubes of paint- cad red (light), cad yellow (medium), prussian blue, titanium white and burnt umber- to paint a great portrait.
+Frank Mejia ah! I've actually found the colors he painted with: Silver White, Naples Yellow, Yellow Ochre, Ochre dew (English Red), Rec Ochre, Vermillion, Ivory Black or Coal Black, Prussian Blue. This list is from Sargent's notes, which somehow found their way to George Pratt, who shared the information. I had no idea Red Ochre even existed. No ready made greens or violets on the palette, though. Surprised he used Naples Yellow, it can look pretty unatural sometimes.
+Frank Mejia "The technique of Portrait Painting" by Harrington Mann, J.B. lists the following colors for Sargen's pallet: Blanc d'Argent, Pale Crhome, Transparent Yellow Ochre, Chinese Vermillion, Venetian Red (called English Red in the other notes), Chrome Orange, Burnt Sienna, Raw Umber, Garance Fronce, Viridian, Cobalt Blue, French Ultramarine, Ivory Black, and Cobalt Violet.
I founf funny how american want sargent to be labeled americain painter . But let s be honnest. Sargent was more french that American. His parent came,e from usa to france Paris then when travelling in italy sargent was born in florence then grewup in France then move to england. All his career was mainly in france then england. In his entire life he spent 2 years in usa so please stop saying he was american
This is interesting, but I thought (and maybe others did) that we were going to hear a discussion of the colors on Sargent's palette.
So did i
Elizabeth Plotnick absolutely. Such a nonsense title.
Six and one half minutes of my life I'll never get back. Very misleading title for sure.
For those of you who would like to experiment with his palette, the next section goes over the materials John Singer Sargent used in his work.
John Singer Sargent used fine plain woven canvases toned with mid-tone cool gray-particularly for portraits.
He used paints directly from tubes to mix the exact colors he wanted. His palette varied, but he regularly used cadmium yellow, vermilion, Mars red, Mars yellow, Mars brown, rose madder, sienna, ivory black, ultramarine blue, cobalt blue, viridian green, and emerald green. He used a copious amount of paint medium: linseed oil for dark colors and poppyseed oil for lighter colors.
Sargent mixed flesh tones using a palette of ivory black, rose madder, and viridian green with lead white. Lead white was common at this time, but for safety reasons, I would not recommend it nowadays.
Evidence indicate that John Singer Sargent used small (¼ inch or ½ inch) brushes. Studies further confirm that he saved the boldest strokes for last. I conclude that he started with big brushes, then moved to smaller brushes in the middle stages of the painting, and then finished them off with big brushes again.
He varnished his paintings, which has led to the varnished paintings yellowing over time.
www.explore-drawing-and-painting.com/John-Singer-Sargent.html
Cheers fellow artists!
and www.oldholland.com/oil-colours/ has a lot of those colors or similar to them!
To anyone wondering what palette of colors Sargent actually used, lists do exist online, but its clear Sargent went through a variety of pigments throughout his career, adopting colors and casting away others. His main palette always included
Lead white
Pale chrome(cad yellow pale)
Gold Ochre
Vermillion (Cad Scarlet/red light)
Venetian Red
Cadmium Orange
Burnt Sienna
Raw Umber
Alizarin Crimson
Viridian
Cobalt blue
Fr. Ultramarine
Ivory black
Cobalt violet
Various colors would come in as needed for studio works, but this was the colors found in Sargents plein air box, and what appears stained into his palettes.
IMO I love the collectable sargent palette, but for $150 to get a reproduction of a palette another artist used, is like spending hundreds or thousands on getting the same type of guitar Jerry Garcia used. It might look good on your wall, but it will not make you a better artist. I feel like anyone with a band saw an a $10 piece of birch can make their own
I'm glad he confused the lot of you. Students and those new to painting need to Stop focusing on palettes like they are a secret formula to great painting. A master like sargent could paint the same painting using an almost infinite number of different colors. Its not about the colors you use (unless you are squeezing them out of the tube purely without mixing them at all) Its in the way you mix them which makes you a master of color
Well said. Someone like Sargent could paint from any medium and any spectrum and make a beautiful piece.
"A master like Sargent" could make a great painting out of poor light, composition or subject. A such nothing matters.
i just wanted to try out a new palette
@@2adamast thats not true actually.. there are many many many terrible sargent paintings believe it or not. I remember seeing them in smaller museums sometimes. He struggled just like anyone. But generally not with color. In fact I'd say he struggled with values (light and dark) more than he did with color.
Another disappointed artist hoping to hear the exact colors Sargent used- aka his palette.
Don't worry about the "exact" colors he used. People focus far too much on thinking that it's the pigments which provide insight into the final product of a master. In reality you can use different pigments to make the same exact mixtures and the eye would never be able to tell the difference. Sargent never worked in pure out of the tube color in his figurative and portrait work which means the variety of grays he mixed on his palette can be mixed from any number of different base pigments.
@@devinmichaelroberts9954 Absolute Bullshit. Having painted in oils many studies of Sargents work I can disagree here, there are times he did use paint straight out of the tube. Variety of greys? Wth are you talking about.? Sargent used a similar limited palette to Zorn which was based on the Apelles pallette. Occasionally adding extra hues, but most of his colours were made from the limited palette.
This is not about art or painting but memorabilia. And therefor boring...
I wanted to learn about the oil paints JSS used. Then it occurred to me the title just said “palette” only. 😂 LOL 😂
As an artist I can say that, like many others here, one is not as interested in the piece of wood as much as the colors that comprised Sargeant's pallete. A piece of wood doesn't not speak to the character of the artist, at all, for it is merely a tool.
I studied under Dawn at DLU in Nashville. She is a wonderful teacher and also a very interesting person!
One big sales pitch!
Hope we don't disturb this private conversation between those elders which brings us absolutely nothing about the Sargent's palette...
Bummer! Where is the palette you promised?
2:20, on Kinstler's hand, I'm sure they didn't promised the colors which Sargent used, they promised the palette itself.
Well, it was nice to see the inside of the Tite Street Studio, and the palette, but .....that's all there was, and the sound was lousy. Interesting.
a painter's palette without colors is not a palette.
❤
Amazing video, I was just searching this artist , because I found a book about his art in the university library and his art just struck me with his ecstatic colors.. Just amazing... but I just wanted to know what oil colors did he use in his colors exactly?
+Frank Mejia Im going to answer with my speculative, amateur answer. Sargent lived at an exciting time for painting: The industrial revolution had radically expanded the amount of colors available to artists, and American dye/paint makers played an important role in the discovery and manufacture of modern pigments. All the cadmiums are colors found in skin in natural light- cad red, cad yellow, cad orange, but these are pretty modern pigments and I don't know if he would have used them. Almost all the old reds were cinnabar related pigments.
He likely used prussian blue (or possibly ultramarine?) to cool his colors off. Im guessing he used a tube of black (instead of mixing black) which used to be made from coal. Also, back in the day, academies and ateliers on either side of the atlantic would have taught to paint your underpainting in burnt umber, and to mix your greys with burnt umber, so that could be in there (although I don't see much burnt umber in his paintings).
Sargent would have access to quinacridone violets and reds, and the old formulations of alizarin and English red that had arsenic in it. Those are my educated guesses! You really dont need much more than five tubes of paint- cad red (light), cad yellow (medium), prussian blue, titanium white and burnt umber- to paint a great portrait.
+Frank Mejia ah! I've actually found the colors he painted with: Silver White, Naples Yellow, Yellow Ochre, Ochre dew (English Red), Rec Ochre, Vermillion, Ivory Black or Coal Black, Prussian Blue. This list is from Sargent's notes, which somehow found their way to George Pratt, who shared the information. I had no idea Red Ochre even existed. No ready made greens or violets on the palette, though. Surprised he used Naples Yellow, it can look pretty unatural sometimes.
+Frank Mejia "The technique of Portrait Painting" by Harrington Mann, J.B. lists the following colors for Sargen's pallet: Blanc d'Argent, Pale Crhome, Transparent Yellow Ochre, Chinese Vermillion, Venetian Red (called English Red in the other notes), Chrome Orange, Burnt Sienna, Raw Umber, Garance Fronce, Viridian, Cobalt Blue, French Ultramarine, Ivory Black, and Cobalt Violet.
thanks for shared
Incredibly uninteresting.
I founf funny how american want sargent to be labeled americain painter . But let s be honnest. Sargent was more
french that American. His parent came,e from usa to france Paris then when travelling in italy sargent was born in florence then grewup in France then move to england. All his career was mainly in france then england. In his entire life he spent 2 years in usa so please stop saying he was american
Oh I thought they meant his color palette not the actual wooden palette
after this, please mic the segment correctly
Singer art is valueless and showy.and it is an example of Later neoclassicism and anti-modernity .
False advertising!
His name isn't spelled correctly on the palette. Its most likely a fake.
Kerry Flynn top kek
Boring!
Ni paleta ni retratos... solo charla????
how ridicoulous.It shows how much culture has got destorted and now a miro comodiity.