So often, when we see Sargent do a painting about shape, we automatically think that all the edges are sharp, hard, and defined. However, upon closer inspection, we start to notice that he softens many of his edges. In fact, a significant number of these edges can be achieved using a round brush. I'd like to demonstrate this technique in this portrait.
My Favorite Brushes: A Round Brush Duo
I use two types of Round Brushes that have become staples in my studio: the 0 and 1, both made from Rosemary (Ivory) Sable hairs. These brushes are ideal for delicate work, such as eyelashes, wrinkles on the face, and subtle color transitions. I find that they allow me to achieve incredibly fine details and smooth transitions between colors.
Softening Edges: Draw Attention Away
The reason for softening some areas or edges is to draw attention away from them and create contrast with the sharp edges that remain. This technique allows us to highlight specific areas and direct our focus towards them.
When we examine paintings by old masters, we often find ourselves mesmerized or merely acknowledging their fame without truly analyzing the art. Let's try a different approach next time you're viewing a painting. Look at it from a distance first, then take a step closer. Compare the different areas of the painting and ask yourself specific questions, such as: Why are some areas flat with no brushstrokes, texture, or color? How do other areas have color contrast and pattern?
You can also ask yourself additional questions, such as:
What kind of markers were used to create these marks?
Which brushes were used to achieve those marks?
How do the marks in this painting compare to those made by similar artists?
What are the marks from this period like compared to previous periods in art?
Learning Over My Career
As my 40-year art career has progressed, not counting high school, I've developed a deeper appreciation for the craft. I understand how paintings are executed and appreciate the influences that have shaped them.
To gain a more comprehensive understanding of an artist's work, look at their teachers, peers, music, literature, and other cultural factors from the time period. It's often not what's explicitly stated in the painting but rather what's left unsaid – the soft areas – that can be just as powerful as the brighter, bolder elements.
Take Caravaggio, for example, without Leonardo's Sfumato and Chiaroscuro. There are no explosions of light coming from darkness. Now, it's time to tell your story in art using the control of artistic elements.
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