plate no. 8385
The Sitwell Family
John Singer Sargent, 1900
recreation guide
John Singer Sargent’s *The Sitwell Family* (1900) is a quintessential example of his mastery in the 'grand manner' of portraiture, characterized by remarkable technical facility and the ability to 'draw with a brush' (Source 6). As a leading portrait painter of the Belle Époque and Edwardian eras, Sargent’s work evokes luxury and social status, often documenting the lives of the elite (Source 6). The painting likely employs the sophisticated layering techniques associated with the old masters, such as glazing and scumbling, which Sargent would have studied and utilized to achieve depth and luminosity, despite modern prejudices against such methods (Source 1). The composition serves to place the sitters in their social milieu, using background elements to encode character and status, consistent with the traditions of complex portrait painting (Source 8).
estimated time
40-60 hours over 8-12 sessions
materials
5 items
steps
6 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Oil paints (Ultramarine, White, Black, Red Ochre, Yellow Ochre) | Primary pigments for grisaille underpainting and initial color layers | — |
| Oil of Copavia (or modern stand oil/walnut oil) | Medium for the first and second paintings to ensure proper drying and flow | Stand oil or Galkyd |
| Varnish | Mixed with oil for later glazing stages to increase transparency and depth | Dammar varnish or synthetic resin varnish |
| Canvas | Support for the oil painting | Linen or cotton canvas, primed |
| Charcoal or Pencil | Initial sketching of forms and likeness | — |
preparation
surface prep
The canvas should be prepared with a ground suitable for oil painting. While specific priming details for this exact work are not in the sources, Sargent’s practice involved working on prepared canvases. The sources suggest a method where the first painting is done with oil of copavia, implying a surface that can accept thin, fluid applications without cracking (Source 1).
underdrawing
For complex compositions like family portraits, it is advisable to first do a complete pencil, ink, charcoal, or oil sketch, particularly if the sitter's time is limited (Source 8). Sargent was known for his ability to draw with a brush, suggesting that the underdrawing might be loose and integrated into the first paint layer rather than a rigid, detailed line drawing (Source 6). The drawing should aim for 'artistic accuracy'—conveying emotional significance and form vividly—rather than just scientific precision (Source 3).
underpainting
A grisaille (monochrome underpainting) is recommended. The artist should mentally extract red and yellow colors, translating what would be left in nature if these colors were not present (Source 1). This monochrome layer establishes the values and forms. Sir Joshua Reynolds, whose methods influenced the tradition Sargent worked within, used black, ultramarine, and white for his first and second paintings (Source 1). This layer must be quite dry before proceeding to color (Source 1).
color palette
Ultramarine
Pure pigment
Grisaille underpainting and cool shadows
White
Lead white or Titanium white
Grisaille underpainting and highlights
Black
Ivory black or Lamp black
Grisaille underpainting and deep shadows
Red and Yellow tones
Vermilion, Cadmium Red, Yellow Ochre, Chrome Yellow
Glazing and scumbling over the dry grisaille to introduce warmth and flesh tones
Draperies and Background colors
Varied based on composition needs
Establishing social status and harmony; colors not inherent to the flesh can be chosen by the artist to harmonize the composition (Source 5)
composition
The composition should organize the figures to convey their social status and relationships. In complex portraits, the background can be a full scene placing the sitter in their social or recreational milieu (Source 8). Sargent’s work is consistent with the grand manner of portraiture, which emphasizes the dignity and luxury of the subjects (Source 6). The arrangement should avoid 'smallness' and instead focus on broad masses and significant forms (Source 2).
step by step
underdrawing→underpainting→first pass→refining→finishing→varnishing
underdrawing
step 01
Sketch the general form and rough likeness on the canvas using charcoal or thin oil. Focus on the heads and hands first, as these are the most critical areas for likeness.
Tip — Ensure the drawing conveys emotional significance rather than just scientific accuracy (Source 3).
Initial Sketch
underpainting
step 02
Create a grisaille using black, ultramarine, and white mixed with oil of copavia. Mentally exclude red and yellow tones to establish values.
Tip — This layer must be completely dry before proceeding (Source 1).
Grisaille
first pass
step 03
Begin glazing and scumbling with oil. Apply yellow and red tones as they occur, similar to tinting an engraving with watercolors.
Tip — Glazing is a transparent coat of color; scumbling is semi-opaque (Source 1).
Glazing
refining
step 04
As mastery is gained, mix varnish with oil for subsequent glazes. This increases transparency and depth.
Tip — Be aware that scumbling over a darker ground tends to coldness, which can be used to create a grey bloom (Source 1).
Varnish Glazing
finishing
step 05
Refine the details, particularly in the faces and hands. Ensure the composition harmonizes colors inherent to the model (flesh, eyes, hair) with chosen colors for draperies and background.
Tip — Use the law of simultaneous contrast to enhance the gradation of light and color (Source 5).
Color Harmony
varnishing
step 06
Apply a final varnish to protect the painting and unify the surface.
Tip — Ensure the painting is completely dry before varnishing.
Final Varnish
critical techniques
Glazing and Scumbling
Sargent, following the old masters, likely used transparent glazes and semi-opaque scumbles to build up color and depth. This method allows for a luminosity that direct painting cannot achieve (Source 1).
Drawing with a Brush
Sargent’s technical facility allowed him to define forms and likeness directly with paint, minimizing the need for rigid underdrawings (Source 6).
Color Harmony
The artist should choose colors for draperies and backgrounds that harmonize with the flesh tones, using principles of complementary or analogous colors to create a pleasing aesthetic (Source 4).
common pitfalls
- →Attempting to paint details before the underpainting is dry, which can lead to muddiness and cracking (Source 1).
- →Over-modeling or being too tied down to the outline, which can result in a stiff and lifeless portrait (Source 2).
- →Ignoring the law of simultaneous contrast, leading to flat and unharmonious color relationships (Source 5).
- →Focusing too much on small details at the expense of broad masses and overall composition (Source 2).
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 details of the Sitwell family's clothing, jewelry, and poses are not described in the sources, so the artist must rely on reference images of the actual painting.
- ·The exact background setting and objects in the painting are not detailed in the sources, requiring external visual reference.
- ·Sargent’s specific palette for this particular painting is not listed, so the artist must infer from his general practice and the visual evidence of the painting.
grounded in
The technical procedure in this guide traces to the following classical art-instruction texts.
The Practice of Oil Painting↗
- COLOURING A MONOCHROME — applied to Underpainting and glazing techniques
- ON COPYING — applied to Advice on avoiding over-modeling and focusing on broad masses
The Practice and Science of Drawing↗
- FROM A STUDY BY BOTTICELLI — applied to Importance of artistic accuracy in drawing
Laws of Contrast of Colour↗
- 6. Put beside each other two flat tints... — applied to Chiaroscuro and color contrast
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia: Harmony (color)↗
- Harmony (color) — part 1 — applied to Color harmony principles
Wikipedia bio — John Singer Sargent↗
- John Singer Sargent — part 1 — applied to Artist’s style and technical facility
Wikipedia: Portrait painting↗
- Portrait painting — part 5 — applied to Process for complex portraits and underdrawing
Read more about the corpus on the sources page and how the guides are built on the methods page.
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