Ive studied Sargent a lot. I can tell he actually made a thin foundation layer which dried quickly also he used clove oil and poppy seed oil on the subsequent layer which kept the paint wet indefinitely if he wanted. So in between sittings the layer wouldn't dry in all of his works save for a few small single just head portraits he painted all prima. Also the paint I think was way stiffer then we think of it now. Sargents palette was soaking with oils and other mediums such and poppy seed black oil linseed and stand oil. Stand oil was very important to Sargent I believe because it could make the paint have a uniform viscosity. He did not paint in thick layer which a lot of pages on the internet seem to suggest He painted in a way that he would have good coverage but economically. M most painting seem to be two layers only however but depending on the thickness of the previous layers might have painted three layers all wet into wet Also he painted initially iwith turpentine and color the turpentined would evaporate leaving the thickness of the initial paint out of the tube which then provided a great workable surface for blending especially cause the paint would stay where he put it and not be smearing in other plane of paint creating a muddy example.
Sargent almost exclusively with turps and linseed oil. He painted masses in soft mid tones then finished in impasto and dry brush. He used “baseball sized portions of paint” on his palette. Read the biography by Charteris. He needed no special mediums.
Could you actually talk more about the specifics of what you are doing in this painting such as how you start the background - what kind of wash, the colors on your palette, your brushes, thickness of paint, colors you are mixing? That would be so helpful.
Hello Chelsea from 🇬🇧 new subscriber here, your video came up on my feed and I am so glad it did! You are a treasure! Your video is so clear about what you are doing, thank you so much! 💖
I keep meaning to do a master study of Sargent's Lady Agnew of Lochnaw, I love the fabric on it, so would prob focus on trying to study and paint the fabric as close as i can
Omg!!! I love it!!! I love John Singer Sargent, Carolyn Anderson and Jose Royo’s Style and wish to move more towards that broken (i) lower case I impressions and Classical sketches. The problem I’m having is drawing proportions, color mixing, and brushwork! Can you help me
Hi Chelsea, I notice you use solvent to create washes. Do you worry about the toxicity of said solvents? I'm scared of getting cancer down the line, so I've been using linseed oil and avoiding turpentine as much as possible.
I don't know if you ever heard of water soluble oil paints but you might like them. Through the wonders of science they found a way to change the molecules of oil so that they are soluble in water. They are identical to regular oil paints, but no solvents or paint thinners are necessary. They are possibly very underrated. Just mentioning them.
@@RobertF- Those are interesting but not "wonders of science" since it's just that they added an emulsifier to the mix, and emulsifiers have been known for centuries, i.e. egg yolk.
Dear Chelsea, I like your style very much. Thanks for jaring this with us. As I m a german, my english is not good enough to hear the names of the paint you use for portrait. I cannot open your site you shown beyond your podcast. Would there be another possibility to get that names? Thank you very much. 🌹🙋♀️
I thought Sargent worked by studying both the subject and canvas from a distance, stepping forward, then applying a stroke. Then returned to a position back from the canvas. I also don’t think he went right for the eyes. He described painting the eyes as “ dropping a poached egg on a plate”. I think he meant preparing the socket for the details to come.
@@ReadyForSummerNow Not sure what you mean. Sargent painted standing up when he painted real people in the manner you describe, but it's not necessary to walk back and forth from the canvas when you're working from a photograph or print as we see in this demo.
See the warm earthy orange he leaves showing in the bottom left? I’m pretty sure that’s the tone of the whole canvas, left dry, before he painted the model on site, wet in wet. Using warm toned canvases may help get closer to his actual technique, which appears to be your goal :)
pareciera que Sargent pintaba en principio alla prima , pero hay detalles de la piel que se nota que uso algo de sfumato para iluminar y colorear esas partes
What was the ratio of linseed oil to gamsol that you mentioned wanting to try? Was it 30/70 linseed to gamsol? Thanks (Maybe another viewer will recall.)
PS Sargent would not have oiled out the painting with linseed or any oil cause he would not be able to control the brush strokes because the viscosity of linseed oil is to slippery for control He would have simple started thin withe turpentine medium and as the tour-evaporated he would use the appropriate oil for the viscosity he wanted
I find that I can copy Sargent's work pretty well, but it's not so easy painting like him when I work from a real model. I've seen the work of other more modern painters who try to paint like Sargent but they never quite get the same look. I'm thinking of artists like Raymond Kinstler and Howard Sanden, but there are others. They seem to put in much more detail than Sargent did.
Chelsea, I think, Sargent did not use a laborious, hit and trial method. His work seems direct, very economical use of brush strokes, an acutely accurate knowledge of values and an extraordinary ability of transition of dark to light with soft and hard edges. I recommend you to see a very fine demo given by John Howard Sanden on painting Lady Agnew's portrait, copying the great Sargent. John Howard Sanden himself is an extra ordinary portrait painter, from whom I have learnt.
That John Howard Sanden demo is gorgeous. The only thing is that, as far as I know, Sargent likely wouldn't have started with a pencil underdrawing like Sanden did. So Sanden gets this advantage of essentially just getting to paint by numbers (so to speak) in the video, because all of his shapes and proportions have already been established. Sargent absolutely would have looked more confident and efficient than I did, but I suspect there was a good amount of trial and error, and drawing with the paint as well.
Ive studied Sargent a lot. I can tell he actually made a thin foundation layer which dried quickly also he used clove oil and poppy seed oil on the subsequent layer which kept the paint wet indefinitely if he wanted. So in between sittings the layer wouldn't dry in all of his works save for a few small single just head portraits he painted all prima. Also the paint I think was way stiffer then we think of it now. Sargents palette was soaking with oils and other mediums such and poppy seed black oil linseed and stand oil. Stand oil was very important to Sargent I believe because it could make the paint have a uniform viscosity. He did not paint in thick layer which a lot of pages on the internet seem to suggest He painted in a way that he would have good coverage but economically. M most painting seem to be two layers only however but depending on the thickness of the previous layers might have painted three layers all wet into wet Also he painted initially iwith turpentine and color the turpentined would evaporate leaving the thickness of the initial paint out of the tube which then provided a great workable surface for blending especially cause the paint would stay where he put it and not be smearing in other plane of paint creating a muddy example.
Sargent almost exclusively with turps and linseed oil. He painted masses in soft mid tones then finished in impasto and dry brush. He used “baseball sized portions of paint” on his palette. Read the biography by Charteris. He needed no special mediums.
A goofy take in an attempt to muddy up the waters and paint yourself as knowledgeable.
I'm 80yrs old portrait artist & a fan of Sargent all my life.Thank you for the video 👍
Love that raised eyebrow look
I am really happy to see your videos its very beautiful painting
Thank you Chelsea , you are both an amazing Artist and Teacher
Hi, love your approach and your mellifluous narrative style.
Could you actually talk more about the specifics of what you are doing in this painting such as how you start the background - what kind of wash, the colors on your palette, your brushes, thickness of paint, colors you are mixing? That would be so helpful.
I was thinking of asking the same question
Awesome! Thank you for sharing. Love JS Sargent! 👍🙏❤️
You made that look easy! Very talented!!!
Beautiful! you've really caught the sitter's slightly amused and quizzical expression!
This is priceless!I’ve enjoyed every second of this video, thank you very much ❤️❤️❤️❤️❤️❤️❤️
I 've enjoyed & loved the way you are teaching 👍 👍
you are a great artist 🎨
thanks a lot 💐
Excellent. Thanks.
Amazing! Thank you so much for sharing! :)
Your replication of rizz is simply remarkable
Hello Chelsea from 🇬🇧 new subscriber here, your video came up on my feed and I am so glad it did! You are a treasure! Your video is so clear about what you are doing, thank you so much! 💖
I keep meaning to do a master study of Sargent's Lady Agnew of Lochnaw, I love the fabric on it, so would prob focus on trying to study and paint the fabric as close as i can
Wow this was amazing!
Thanks....Saludos in your brush works and style
Dank u dat ik mee mag kijken.Geweldig .
I love to view you paint that painting study..
Love ur voice overs. And your technique.
Thank you for sharing with us!
Omg!!! I love it!!! I love John Singer Sargent, Carolyn Anderson and Jose Royo’s Style and wish to move more towards that broken (i) lower case I impressions and Classical sketches. The problem I’m having is drawing proportions, color mixing, and brushwork! Can you help me
wow beautiful...thank you
Hi Chelsea, I notice you use solvent to create washes. Do you worry about the toxicity of said solvents? I'm scared of getting cancer down the line, so I've been using linseed oil and avoiding turpentine as much as possible.
Painting like Sargent is worth getting cancer.
There are non toxic alternatives like Zest-it, which I use.
@@KristenRam yes, I have heard of zest it. Never used it might give it a try.
I don't know if you ever heard of water soluble oil paints but you might like them. Through the wonders of science they found a way to change the molecules of oil so that they are soluble in water. They are identical to regular oil paints, but no solvents or paint thinners are necessary. They are possibly very underrated. Just mentioning them.
@@RobertF- Those are interesting but not "wonders of science" since it's just that they added an emulsifier to the mix, and emulsifiers have been known for centuries, i.e. egg yolk.
This is very nice helpful video for me thank you ma'am
amazing!!! Thank you for share 😊
بہت اچھی کوشش۔ آپ نے ماہرانہ انداز میں رنگ اور برش کا استعمال کیا۔
Exercise in problem solving while staying flexible.
wonderful teaching , thank you
Incredible 😝
Beautifull
WwwooooWww perfect 👏👏👏❤️❤️💚💙👑👑👑
I like !
Beautiful
Dear Chelsea, I like your style very much. Thanks for jaring this with us. As I m a german, my english is not good enough to hear the names of the paint you use for portrait. I cannot open your site you shown beyond your podcast. Would there be another possibility to get that names? Thank you very much. 🌹🙋♀️
너무 잘그린다~ 맘에드네
Nice lesson.
I thought Sargent worked by studying both the subject and canvas from a distance, stepping forward, then applying a stroke. Then returned to a position back from the canvas. I also don’t think he went right for the eyes. He described painting the eyes as “ dropping a poached egg on a plate”. I think he meant preparing the socket for the details to come.
Sargent painted the way you describe only when he worked from a live model. It's not required when making this kind of copy.
@@sketchartist1964 it’s never required in any painting, Sargent’s style was the way he painted.
@@ReadyForSummerNow Not sure what you mean. Sargent painted standing up when he painted real people in the manner you describe, but it's not necessary to walk back and forth from the canvas when you're working from a photograph or print as we see in this demo.
See the warm earthy orange he leaves showing in the bottom left? I’m pretty sure that’s the tone of the whole canvas, left dry, before he painted the model on site, wet in wet. Using warm toned canvases may help get closer to his actual technique, which appears to be your goal :)
pareciera que Sargent pintaba en principio alla prima , pero hay detalles de la piel que se nota que uso algo de sfumato para iluminar y colorear esas partes
What was the ratio of linseed oil to gamsol that you mentioned wanting to try? Was it 30/70 linseed to gamsol? Thanks (Maybe another viewer will recall.)
AMAZING
💥thank you
Hi Chelsea I'm interested in the Schmid books. I'd like to know how the Alla Prima book differs from the Alla Prima II book. Thanks.
also are you streching your own linen or buying some kind of panel
Hi madam. I m pursuing my advanced diploma in painting. Please guide me for easy portrait nd exact color in old master painting s
PS Sargent would not have oiled out the painting with linseed or any oil cause he would not be able to control the brush strokes because the viscosity of linseed oil is to slippery for control He would have simple started thin withe turpentine medium and as the tour-evaporated he would use the appropriate oil for the viscosity he wanted
Her left eye is longer width on the left eye with a sharp lift other eye lid.
Super
I find that I can copy Sargent's work pretty well, but it's not so easy painting like him when I work from a real model. I've seen the work of other more modern painters who try to paint like Sargent but they never quite get the same look. I'm thinking of artists like Raymond Kinstler and Howard Sanden, but there are others. They seem to put in much more detail than Sargent did.
The slight tilt of the head of the original is very critical to his ability to animate his subjects. Straight is static and less exciting
Alla prima or are you letting it dry in between?
Chelsea, I think, Sargent did not use a laborious, hit and trial method. His work seems direct, very economical use of brush strokes, an acutely accurate knowledge of values and an extraordinary ability of transition of dark to light with soft and hard edges. I recommend you to see a very fine demo given by John Howard Sanden on painting Lady Agnew's portrait, copying the great Sargent.
John Howard Sanden himself is an extra ordinary portrait painter, from whom I have learnt.
That John Howard Sanden demo is gorgeous. The only thing is that, as far as I know, Sargent likely wouldn't have started with a pencil underdrawing like Sanden did. So Sanden gets this advantage of essentially just getting to paint by numbers (so to speak) in the video, because all of his shapes and proportions have already been established. Sargent absolutely would have looked more confident and efficient than I did, but I suspect there was a good amount of trial and error, and drawing with the paint as well.
How long did it take to paint
con la calidad de sargent ,nooo un ejercicio sin amor
The right eye a bit too big, but you certainly got the overall likeness. Nice one…. 👍
👏🖤
Giovanni Boldini, are you a fan?
🤓🖼️🧡
I want to paint with you or draw with you 🤓🖼️
what is your "handy photoshop trick"!
I was curious about this too.
Pretty good, yet Singer seems to use more juicy consistency of paint.
Nice video. I would suggest working on the roundness of the forehead if you decide to do more.
why’s she doing the debby ryan lmao
I I I me me me mine mine mine...
Your right eye is bigger.
Beautiful work! Sargent is a b*stard! 😂
This master copy would never be accepted at an atelier