Observing How Sargent Painted

When Margaret Chanler was in London in 1893 with her sister Elizabeth, Margaret persuaded John Singer Sargent to paint her sister's portrait. 

Portrait of Elizabeth by John Singer Sargent, 1893

"It was his custom," said Margaret, "to admit callers, so that the sitting should not become too rigid. I was asked to keep the talk moving with those who came. I suggested that Mr. Kipling ought to fill the vacant poet laureate’s post. 'What an unpleasant American idea!' Mr. Sargent walked backwards to the wall of his studio, his brush held very high, then returned to the canvas. Lively conversation much amused but never distracted him. When the portrait was finished (he had painted the head in only twice), I overheard him: 'Miss Chanler, I have painted you la penserosa, I should like to begin all over again, and paint you l’allegra.'" According to Sargent, she had "the face of the Madonna and the eyes of a child."

This firsthand account confirms two observations about Sargent's working method:

1. He kept his models engaged and talking, not holding dead-still as is the custom now.

2. He used a form of the sight-size method, frequently backing up from the painting with the brush held aloft, presumably for evaluating slopes or measuring segments.

From Margaret Chanler Aldrich's memoir Family Vista, Available on Archive.org

Previously: Talking Models, Speaking Likeness, Setting Up a Sight-Size Portrait