John Singer Sargent Watercolors: Exploring Melon Boats

Artist Monika deVries Gohlke explores John Singer Sargent's techniques by attempting to re-create this well-known work, Melon Boats.
John Singer Sargent Watercolors
April 5--July 28, 2013
This landmark exhibition unites for the first time the John Singer Sargent watercolors acquired by the Brooklyn Museum and the Museum of Fine Arts, Boston, in the early twentieth century. The culmination of a yearlong collaborative study by both museums, John Singer Sargent Watercolors explores the watercolor practice that has traditionally been viewed as a tangential facet of Sargent's art making. The ninety-three pieces on display provide a once-in-a-generation opportunity to view a broad range of the artist's finest production in the medium.
www.brooklynmus...

[@kenheard5693]

As my mentor would always repeated respond to what you see. Put it down and leave it. Sargent gives us a great example of what was a beautiful fresh spontaneous painting. He felt it and expounded on it. By far one of the greatest artist to have ever inhabited this planet. We are all still talking about you Johnny.

[@hermanzoon]

Sargent was not painting "things" but putting in areas of color, much like he blocked in the beginnings of a portrait. If you don't allow your eyes to focus (settle on) an one thing, but sense the colors and values and lay those in, you will come close to what he was trying to do. Unlike many "experts" today who blend many colors for the sake of adding color, Sargent just let his eye see the colors that were there and painted what he saw. A true master.

[@JustineWiniker]

My college teacher was kind when I tried to do a Sargent. It's a great experience, with lots to learn about color, light and expressive brush strokes. Thank you for reinvigorating me!

[@LauraGYoung]

Wonderfully brave attempt! For those who might be a bit critical, I would point out that it is EXTREMELY difficult to copy a plein air watercolor painting -- even if you've done the original yourself. But to take on a master like Sargent, whose (seemingly) bravura style is quite different from the copyist's more measured style, whilst working with different pigments and cameras recording your every move? Ooof, no thanks!

[@anthonylemkendorf3114]

Laura G. Young I really appreciate the time you spent to share your knowledge. I took notes.

[@RosaFelis666]

Watercolour painting is so hard to copy. She did the wonderful job!

[@JackOrion0670]

Fantastic! It's always a challenge to faithfully cover someone else's work. No doubt with a few more goes she would learn more about the way Sargent painted and get ever closer each time. I could only be so brave!!

[@oldmalayawatercolor849]

You are a very outstanding artist madame. Thank you for your demonstration!

[@michaelwoodmanart]

Very enjoyable video and a great eyeopener into his style of painting.

[@mkilner]

enjoyed this, im sure Sargent did use a lot more wet in wet when he did his version and much bigger brushes, i have done a copy of his sketch of Peter Harrison asleep, not easy, dry and wet areas combined, respect to anyone who can try to pull off a master like Sargent, cheers!

[@brookslegend3939]

Pro trick : you can watch movies on Flixzone. I've been using it for watching all kinds of movies lately.

[@tessellatiaartilery8197]

Thank you very much. I think it was a big challenge to copy this. And the artist's explanations were very instructive. Let's feel energized to try similar ourselves.

[@kristimckay4092]

Wonderful I’m practicing daily his works

[@zvonimirtosic6171]

No one today will be able to make a successful analysis of Sargent's watercolour technique if A) paper is different, and B) pigment size is different. Because those two dictated his technique and the watercolour depends on both most directly. Sargent used handmade paper from J Whatman mill (not made anymore), and used traditionally ground watercolour pigments, which had particles 3-5 times bigger than today's watercolour paints (not made anymore). For all his pale and pastel tones he used diluted white gouache (see sails in the picture). His white gouache was not zinc white, but baryte white which has more gravity. And so forth. So if you wish to use standard Arches aquarelle paper, and Schminke superfine Horadam watercolours, forget it; it will not work. Superfine watercolour saturates paper so quickly, granulation is nearly impossible because particles are too small, successive washes become impossible too. Today's big manufacturers of art materials have killed watercolour medium, and made acrylics-like travesty out of it.

[@arturhakobyan6850]

the matter is there is a very few masters can copy an artwork with the confidence in lines and brushstrokes. Pigments, and papers are not so important as drawing and painting skill. Many of forgeries that are in museums now were done with acrylics on canvases and papers and was announced as originals...

[@zvonimirtosic6171]

That works for oil and acrylic, because both mediums block the background, but NOT for watercolour. Watercolour lacks body, and therefore relies solely on (1) pigment size, (2) paper quality and (3) light reflection from paper, to show all of is features. Using modern commercially available papers and paints, it is impossible to repeat treats of and feel of the 18th, 19th and early 20th century watercolours, no mater what style. This lady should have used handmade paper that resembles Whatman, or some other high quality handmade paper but primed with thin layer of gouache (Sargent did that to get pastel tones); then use watercolour paints made by Natural Pigments, only contemporary manufacturer of traditional art material. They make watercolours using traditional pigments (not modern synthetics which cannot granulate) in a process according to 19th century specs. What we have today and is sold as "watercolour paint" is rubbish; the medium is practically just thinned down acrylics, because today only the excess pigment left after oil and acrylics manufacture goes into watercolours.

[@bugabuga02]

Would you recomend me some good watercolour paints and paper?

[@zvonimirtosic6171]

bugabuga02 The British would say, horses for courses. It depends on what you wish to paint, and what techniques to use. I suggest you practice on machine-made papers such as Arches Watercolour paper or Fabriano Artistico. More serious and unique work do on good handmade watercolour papers like Twinrocker, Velké Losiny, or papers from Ruscombe Mill in France (they make historic papers). You may try well-made printmaking papers too. As for paints, all are equally bad and uniform today, because all manufacturers purchase pigments from same chemists. You may choose whatever you wish, but don't pay through the nose. I suggest you too try traditionally ground and made paints by Natural Pigments.

[@joesurfer9754]

More serious work should be done on the paper you are use to using. I don't care if it is hand made rich people paper or Strathmore 400. A person is going to paint their best on what they are comfortable with. A good artist can make just as good a painting with prang as they can with Windsor Newton artist watercolor paint depending on what they are use too. It just may not last as long. But, if someone needs to ask "what kind of paper to buy" they may want to use only good stuff so they know quality is not holding them back. I think What is most important above and before all else is drawing, composition and painting technique's

[@joesurfer9754]

She did a great job but as soon as she started painting and I seen her scrubbing her brush slowly in an unsure way, thinking about it. I thought "that comes from lack of planning". The first thing she should have done was throw away that tiny, almost useless brush and stuck with an escoda #12 round for the whole painting. I salute her for going through the trouble of doing this for everyone so others don't have too. I am sure sargent knew what he wanted to paint and did it very quickly and much of it was just a coincidence.

[@sawgovia]

I applaud your effort,but not quite right.He didn't paint each area individually.First, the whole paper was rapidly painted in large blocked in washes with very little unpainted areas.The upper sky was all the pale blue even under the sail.Then the sails were painted over that.All areas layered.In the hull of the boat he used undiluted paint heavily applied over damp paper.Hit once with no repeated strokes or you ruin the fluidity.Much larger brush and work the whole paper.no repeat brushstokes

[@joesurfer9754]

Yea, the unsure, repeated brush strokes had me climbing the walls.

[@patriciah3235]

I want to get this paint by numbers kit. Does Amazon have it?

[@stezlaf]

It was a nice video and effort, but she wasn't painting wet enough. This painting really called for a lot of spontaneity (hard to do in a reproduction!), quickness and confidence. Perhaps, it was her intermittent explanations that slowed her down, but the strokes on the paper come off as choppy and unsure. Nevertheless, thanks for the fun attempt and study of this beautiful Sargent painting!

[@timowthie]

Nice effort, but I think you need to attack the canvas more.

[@SuperReyand]

I´d say, it was very brave of her to try to copy such a talent as JSS. But with her first brush strokes it was clear, it won't be any good. Sorry.

[@domhnullbeag]

A generally tentative approach; try a bigger brush! NO idea or understanding of boats -- these would sink without trace!

[@joanneamantea2033]

Not good ...totally missed the lightness and looseness of Sargent work. And what's with the tiny brushes and timid brush strokes? ..that's part of her problem

[@hambone9444]

Too bad you weren't able to find a painter with more confidence in their own ability. A more faithful representation of a JSS watercolor would lean more on a technique or style of expression rather than mere duplication of shape and color. In her desire to represent the painting, she has sacrificed the nature of the painter himself. The only thing you accomplished in this presentation is that: 1) A student of watercolor would assume that it is perfectly acceptable to 'noodle' away at a fine piece of watercolor paper with a #8 filbert and 2) A muddy mess is the best one can hope for while attempting a Sargent watercolor. Nothing personal against Ms. Gohlke but better luck next time.

[@lerpack455]

l have used watercolour for years and have closely studied Sargent. Thank you and a nice idea but l’m afraid you are on the complete wrong track. The most simple part is the right top sky and it is a mess. Try working at an angle of 30 to 45 degrees and working Wet into Wet for a start. So upsetting as l could give you plenty more tips.

[@walterwatson5745]

Do not see the point of this.

[@walterwatson5745]

***** Hi Petgreen - don't disagree - just didn't see the point of videoing this when your attempt is so far removed from Sargent's masterly painting that it does not really inform the viewer.

[@zvonimirtosic6171]

+Walter Watson Me neither. No one today will be able to make a successful analysis of Sargen's watercolour technique if A) paper is different, and B) pigment size is different. Because those two dictated his technique and the watercolour depends on both directly. Sargent used handmade paper from J Whatman mill (not made anymore), used traditionally ground watercolour pigments (not made anymore), which had particles 3-5 times bigger than today's watercolour paints. That is why lady's washes look 'flat' and uninteresting, colour does not granulate, and more brushstrokes are needed to control excessive pigment load. The museum needs to source right paper, right paints, and then hope for the best.