plate no. 6565
Atlantic Storm
John Singer Sargent, 1876
recreation guide
Atlantic Storm (1876) represents a pivotal moment in John Singer Sargent’s early career, reflecting his transition from academic training to a more spontaneous, modernist approach. At this time, Sargent was heavily influenced by his teacher Carolus-Duran, who advocated for the alla prima method—working directly on the canvas with a loaded brush rather than relying on meticulous underdrawings (Source 5). This technique, derived from Diego Velázquez, allowed for spontaneous flourishes of color and relied on the proper placement of tones to create form and depth (Source 5). The painting exemplifies Sargent’s early enthusiasm for landscapes and seascapes, capturing the dynamic energy of the ocean through bold, direct application of paint rather than detailed preparatory sketches (Source 5, Source 7).
estimated time
20-30 hours over 5-7 sessions
materials
9 items
steps
6 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Oil paints | Primary medium for alla prima application | — |
| Canvas | Support surface | Linen or cotton canvas, primed |
| Mars yellow / Cadmium yellow | Sargent’s characteristic yellow pigments for highlights and warm tones | Cadmium Yellow Light/Medium |
| Viridian / Emerald green | Sargent’s characteristic green pigments for sea and foliage tones | Viridian, Emerald Green |
| Vermillion / Mars red | Sargent’s characteristic red pigments for accents and warm shadows | Cadmium Red, Mars Red |
| Synthetic ultramarine / Cobalt blue | Sargent’s characteristic blue pigments for sky and deep water | Ultramarine Blue, Cobalt Blue |
| Ivory black / Sienna / Mars brown | Sargent’s characteristic dark and earth tones for shadows and grounding | Ivory Black, Burnt Sienna, Mars Brown |
| Oil of copavia (or modern linseed/walnut oil) | Medium for glazing and scumbling, as referenced in traditional oil painting practices | Linseed oil or Walnut oil |
| Large brushes | For bold, direct application of paint consistent with Carolus-Duran’s method | Hog bristle filberts and flats |
preparation
surface prep
Sargent handled all tasks including preparing his canvases himself (Source 6). While specific priming recipes for this 1876 work are not detailed in the sources, traditional practice of the period involved sizing and priming with lead white or similar grounds. Given Sargent’s alla prima approach, a slightly absorbent but stable ground would be necessary to allow for direct brushwork without excessive sinking.
underdrawing
Sargent seldom used pencil or oil sketches, instead laying down oil paint directly (Source 6). Carolus-Duran’s method dispensed with careful drawing and underpainting in favor of working directly on the canvas (Source 5). Therefore, no formal underdrawing should be used; the composition should be blocked in directly with paint.
underpainting
Not applicable in the traditional sense of a separate grisaille layer for this specific work, as Sargent employed the alla prima method (Source 5). However, traditional oil painting techniques sometimes involved a monochrome preparation (grisaille) before glazing (Source 1). Given Sargent’s direct method, this step is likely omitted in favor of direct color application, but if a tonal base is desired for contrast, a thin wash of neutral tones could be applied, consistent with the principle of establishing tone before color (Source 2).
color palette
Yellow
Mars yellow or Cadmium yellow
Highlights on waves, sunlight effects, general use in Sargent’s palette
Green
Viridian and Emerald green, sometimes mixed
Sea tones, foam, general use in Sargent’s palette
Red
Vermillion and Mars red, alone or mixed
Warm accents, sky reflections, general use in Sargent’s palette
Blue
Synthetic ultramarine or Cobalt blue
Sky, deep water, general use in Sargent’s palette
Black/Brown
Ivory black, Sienna, Mars brown
Shadows, grounding tones, general use in Sargent’s palette
composition
Sargent’s early work was characterized by bold technique and spontaneous flourishes of color not bound to an underdrawing (Source 5). The composition likely relies on the juxtaposition of tones to create chiaroscuro effects, where the highest tones are enfeebled and the lowest tones heightened to produce a true gradation of light (Source 2). The artist’s focus on 'great effects' suggests that large masses of color and light should be established first, with smaller details emerging from these contrasts (Source 2).
step by step
first pass→refining→finishing→varnishing
first pass
step 01
Block in the major masses of light and shadow directly with oil paint, using large brushes. Avoid preliminary sketches.
Tip — Focus on the overall tonal values rather than details. Sargent’s method relied on the proper placement of tones (Source 5).
Alla prima
step 02
Apply the characteristic pigments: use ultramarine/cobalt for the sky and deep water, viridian/emerald for the sea, and yellows/reds for highlights and warm accents.
Tip — Sargent’s palette included Mars yellow, cadmium yellow, viridian, emerald green, vermillion, Mars red, ultramarine, cobalt blue, ivory black, sienna, and Mars brown (Source 6).
Direct color application
refining
step 03
Enhance the contrast between light and dark areas. Place high-tone colors next to low-tone colors to intensify the chiaroscuro effect.
Tip — According to the laws of contrast, juxtaposing different tones of the same color or complementary colors will heighten the perception of light and shadow (Source 2, Source 3).
Simultaneous contrast
step 04
Add spontaneous flourishes of color to capture the movement of the storm. Use loaded brushes to create texture and energy.
Tip — Sargent’s style allowed for spontaneous flourishes not bound to an underdrawing, derived from Velázquez (Source 5).
Bold technique
finishing
step 05
Review the painting for overall harmony and contrast. Ensure that the colors inherent to the subject (sea, sky) are harmonized with the chosen accents.
Tip — The painter must distinguish between colors inherent to the model and those chosen for effect, harmonizing them through contrast (Source 2).
Color harmony
varnishing
step 06
Apply a varnish to protect the painting and enhance the depth of the colors.
Tip — Sargent handled all tasks including varnishing the painting himself (Source 6).
Varnishing
critical techniques
Alla prima
Working directly on the canvas with a loaded brush, dispensing with traditional underdrawing and underpainting. This method relies on the proper placement of tones and allows for spontaneous color flourishes (Source 5).
Simultaneous contrast
Using the juxtaposition of colors and tones to enhance the perception of light and shadow. Placing high-tone colors next to low-tone colors intensifies the chiaroscuro effect (Source 2, Source 3).
Glazing and scumbling
While Sargent’s alla prima method is direct, traditional oil painting techniques include glazing (transparent coats) and scumbling (semi-opaque painting) to modify tones and create depth. These techniques can be used to refine the storm’s atmosphere (Source 1).
common pitfalls
- →Over-reliance on underdrawing: Sargent seldom used pencil or oil sketches, so avoiding preliminary lines is crucial to capturing his spontaneous style (Source 6).
- →Ignoring tonal contrast: Failing to juxtapose high and low tones will result in a flat appearance. The law of simultaneous contrast dictates that proper tonal placement is essential for chiaroscuro (Source 2).
- →Using an incorrect palette: Deviating from Sargent’s characteristic pigments (e.g., using modern synthetic colors not available in his time) may alter the historical authenticity of the recreation (Source 6).
- →Overworking the paint: Alla prima requires confident, direct application. Over-blending or excessive refinement can lose the spontaneous energy characteristic of Sargent’s early work (Source 5).
what the sources don't tell us
Where the corpus is silent, we say so rather than guess. These are the gaps a complete recreation guide would normally cover that our source passages don't.
- ·Specific compositional details of Atlantic Storm (1876) are not described in the sources, so the recreation relies on general principles of Sargent’s early landscape work.
- ·The exact priming recipe for the canvas is not specified, though Sargent prepared his own canvases (Source 6).
- ·The specific lighting conditions and weather details of the storm are not described, requiring the artist to interpret the 'storm' genre based on general impressionist practices.
grounded in
The technical procedure in this guide traces to the following classical art-instruction texts.
Laws of Contrast of Colour — 6↗
- Chiaroscuro and tonal juxtaposition — applied to Contrast techniques, tonal gradation
The Practice of Oil Painting — COLOURING A MONOCHROME↗
- Glazing and scumbling — applied to Traditional oil techniques for refining tones
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia bio — John Singer Sargent — part 3↗
- Early career and Carolus-Duran’s influence — applied to Alla prima technique, direct application, lack of underdrawing
Wikipedia bio — John Singer Sargent — part 7↗
- Working methods and pigments — applied to Palette selection, varnishing, self-preparation of canvases
Wikipedia bio — John Singer Sargent — part 4↗
- Early career and Velázquez influence — applied to Bold technique, spontaneous flourishes
Read more about the corpus on the sources page and how the guides are built on the methods page.
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