plate no. 6978
Portrait of Daniel J. Nolan
John Singer Sargent, 1917
recreation guide
Portrait of Daniel J. Nolan (1917) is a work by John Singer Sargent, executed in oil on canvas in the style of Realism. By 1917, Sargent was an established master whose working methods were well-established, characterized by a direct approach to painting that eschewed preliminary pencil or oil sketches in favor of laying down oil paint directly onto the canvas (Source 4). His practice involved a rigorous selection of attire and setting, often reviewing the client's wardrobe and choosing background materials to achieve the proper effect, typically requiring eight to ten sittings to complete a portrait (Source 4). While specific visual details of Nolan’s attire or expression are not described in the provided sources, the work fits within Sargent’s broader tradition of commissioned portraiture that sought to capture the character of the sitter with virtuosity, referencing masters like Velázquez and Van Dyck (Source 5).
estimated time
40-60 hours over 8-10 sessions
materials
17 items
steps
6 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Canvas | Support for the oil painting | Linen or cotton canvas, primed |
| Oil Paints | Primary medium | High-quality tube oils |
| Mars Yellow | Sargent’s regular pigment for yellow tones | Synthetic iron oxide yellow |
| Cadmium Yellow | Sargent’s regular pigment for yellow tones | Cadmium yellow light/mid |
| Viridian | Sargent’s regular pigment for green tones | Chromium oxide green |
| Emerald Green | Sargent’s regular pigment for green tones | Emerald green |
| Vermillion | Sargent’s regular pigment for red tones | Cadmium red or vermilion |
| Mars Red | Sargent’s regular pigment for red tones | Iron oxide red |
| Madder | Sargent’s regular pigment for red tones | Alizarin crimson |
| Synthetic Ultramarine | Sargent’s regular pigment for blue tones | Ultramarine blue |
| Cobalt Blue | Sargent’s regular pigment for blue tones | Cobalt blue |
| Ivory Black | Sargent’s regular pigment for dark tones | Ivory black or lamp black |
| Sienna | Sargent’s regular pigment for earth tones | Burnt sienna |
| Mars Brown | Sargent’s regular pigment for earth tones | Burnt umber or mars brown |
| Linseed Oil | Drying oil binder and medium | Stand oil or refined linseed oil |
| Turpentine | Thinner for paint | Odorless mineral spirits or turpentine |
| Varnish | Final protection and unification of surface | Dammar or synthetic resin varnish |
preparation
surface prep
Sargent handled all tasks including preparing his canvases himself (Source 4). While the specific ground recipe for this 1917 portrait is not detailed in the sources, standard practice for oil painting of this period involves priming the canvas with a gesso or oil-based ground to create a stable, slightly absorbent surface. Sargent’s direct painting method suggests a ground that allows for immediate paint application without excessive absorption.
underdrawing
Sargent seldom used pencil or oil sketches, and instead laid down oil paint directly (Source 4). Therefore, no distinct underdrawing phase is recommended; the composition should be blocked in directly with paint.
underpainting
The sources do not explicitly describe an underpainting stage for Sargent’s portraits, noting instead that he laid down oil paint directly (Source 4). However, general oil painting techniques of the era often involved establishing values early. Given Sargent’s direct method, the 'first pass' serves as the underpainting, establishing the major masses of light and shadow.
color palette
Yellow
Mars yellow and cadmium yellow
General use in this artist's palette
Green
Viridian and emerald green, sometimes mixed
General use in this artist's palette
Red
Vermillion, Mars red, and madder, both alone and mixed
General use in this artist's palette
Blue
Synthetic ultramarine or cobalt blue
General use in this artist's palette
Black/Dark
Ivory black, sienna, and Mars brown
General use in this artist's palette
composition
Specific compositional details of the Portrait of Daniel J. Nolan are not described in the sources. However, Sargent characteristically reviewed a client's wardrobe to pick suitable attire and chose background materials for proper effect, often working in his studio which was well-stocked with furniture and background materials (Source 4). The composition likely reflects this deliberate staging to capture the sitter's character.
step by step
first pass→refining→finishing→varnishing→preparation
first pass
step 02
Lay down oil paint directly onto the canvas, avoiding preliminary sketches. Block in the major shapes and values of the face and body.
Tip — Sargent tried to capture the face in one sitting, so work efficiently and confidently.
Direct Painting
refining
step 03
Develop the details of the face and hands, using the specific pigments in Sargent's palette (e.g., vermilion, madder, ivory black). Maintain pleasant conversation with the sitter to keep them relaxed.
Tip — Sargent usually required eight to ten sittings, allowing for gradual refinement.
Direct Modeling
step 04
Adjust colors and tones, being mindful of simultaneous contrast. Ensure that colors are harmonized and that modifications of light are accurately perceived and imitated.
Tip — Be aware that the eye may see colors inaccurately due to mixed contrast; verify tones frequently.
Color Harmony
finishing
step 05
Complete the painting, ensuring the likeness is recognizable and the character is captured. Sargent handled all tasks, including varnishing, himself.
Tip — Select an appropriate frame to complete the work.
Final Touches
varnishing
step 06
Apply varnish to protect the painting and unify the surface. Sargent handled varnishing personally.
Tip — Ensure the painting is completely dry before varnishing.
Varnishing
preparation
step 01
Prepare the canvas and select the sitter's attire and background materials, consistent with Sargent's practice of reviewing wardrobes and choosing settings for proper effect.
Tip — Ensure the lighting and background complement the sitter's character.
Studio Setup
critical techniques
Direct Painting
Sargent seldom used pencil or oil sketches, laying down oil paint directly onto the canvas. This required a high degree of confidence and skill in handling paint and capturing likeness quickly.
Color Harmony and Contrast
Sargent’s realism relied on accurately perceiving and imitating modifications of light and color. Understanding simultaneous contrast helps in harmonizing colors and avoiding inaccuracies caused by the eye’s tendency to see complementary colors after prolonged exposure.
Studio Staging
Sargent carefully selected attire and background materials, often using his well-stocked studio to create the proper effect for the portrait.
common pitfalls
- →Over-reliance on preliminary sketches: Sargent worked directly with paint, so spending too much time on underdrawing may hinder the fluidity of the final work.
- →Ignoring color contrast: Failing to account for simultaneous contrast can lead to inaccurate color perception and disharmonious tones.
- →Rushing the face: Sargent tried to capture the face in one sitting, but rushing can lead to a lack of likeness or character. Balance speed with accuracy.
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 visual details of the Portrait of Daniel J. Nolan (e.g., clothing, background, pose) are not described in the sources.
- ·The exact ground preparation recipe used by Sargent for this specific painting is not detailed.
- ·The specific lighting setup used for this portrait is not described.
grounded in
The technical procedure in this guide traces to the following classical art-instruction texts.
Laws of Contrast of Colour↗
- Simultaneous contrast — applied to Color harmony and perception
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia bio — John Singer Sargent — part 7↗
- Working methods — applied to Direct painting, studio setup, sittings, varnishing
- Pigments — applied to Color palette selection
Read more about the corpus on the sources page and how the guides are built on the methods page.
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