John Singer Sargent is celebrated as one of the greatest portrait painters of the late 19th and early 20th centuries. A remarkably prolific artist, he created over 900 oil paintings, more than 2,000 watercolors, and even more sketches and preliminary studies during his lifetime. His expansive body of work encompasses a wide range of subjects, including portraits, landscapes, travel scenes, murals, and charcoal studies.
I have long admired Sargent's paintings and his distinctive art style, particularly his loose and confident brushstrokes. Despite their apparent spontaneity, his works never seem unfinished; instead, they reveal meticulous control and the deliberate placement of every stroke. This balance between freedom and precision is one of the hallmarks of his genius.
Here, I have selected some of my favourite paintings by Sargent, accompanied by the intriguing stories behind them, sourced from credible references.
1.
Carnation, Lily, Lily, Rose
Date: 1885–1886
Medium: Oil on canvas
Dimensions: 153.7 x 174 cm
The title of Carnation, Lily, Lily, Rose comes from the refrain of a popular song, Ye Shepherds Tell Me by Joseph Mazzinghi, a pastoral glee for a trio of male voices. The lyrics mention Flora wearing "a wreath around her head, around her head she wore, carnation, lily, lily, rose."
This painting stands out as one of Sargent’s most iconic works, not only for its technical brilliance but also for the personal and intimate nature of its subject. It exemplifies Sargent’s remarkable ability to capture both the beauty of nature and the fleeting innocence of childhood, preserving a magical moment in time.
In 1884, after a scandal forced Sargent to leave Paris, his career found a turning point three years later when Carnation, Lily, Lily, Rose was exhibited at the Royal Academy, helping to restore his reputation.
Sargent’s inspiration for the painting came from an evening boating trip along the Thames at Pangbourne in 1885, where he noticed Chinese lanterns glowing in the trees. He began the work while staying at the home of fellow artist Francis David Millet, although the models for the two young girls—Polly and Dorothy—were actually the daughters of another artist, Frederick Barnard.
One of Sargent’s greatest challenges was capturing the ephemeral, magical quality of twilight, when the lanterns glowed softly against the dimming light of day. To achieve this, he worked on the painting during two consecutive summers, meticulously timing his sessions to coincide with the brief moments of perfect dusk light. Each evening, he painted outdoors, focusing on the glowing lanterns and the girls’ movements, ensuring every element resonated with the fleeting beauty of the scene.
WHY I LIKE IT:
This painting exudes a magical and mysterious aura from the very first glance. It feels almost dreamlike, with colors that seem otherworldly. At first, I thought there was a mirror in front of the little girl, reflecting flowers floating around her—but I was mistaken. After taking a closer look and learning about the story behind its creation, I was awestruck and found myself admiring it as much as the rest of the world does.
The warm, diffused light emanating from the lanterns creates a sense of ethereal magic, transforming an ordinary garden scene into something extraordinary. The interplay between the fading twilight and the glowing lanterns enhances the painting’s dreamlike quality, making it feel as though it exists in a suspended moment between day and night. While some may see childhood and innocence as the central theme, I believe the true brilliance lies in its cohesive and soothing atmosphere, which feels both enchanting and slightly surreal.
2.
On His Holiday, Norway
Date: 1901
Medium: Oil on canvas
Dimensions: 137 x 244 cm
This painting is a portrait of Alexander McCulloch (1887–1951), depicting him as a young schoolboy from Winchester College resting after a salmon fishing expedition in Norway. At the time, summer holidays were considered a poor season for salmon fishing in Britain, making Norway an increasingly popular destination by the late 19th century.
Sargent accompanied Alexander and his father on their fishing trip to the Sundal Valley in Norway in 1901. While it is unclear whether the portrait was a formal commission, it seems likely that Sargent was inspired by the stunning landscape, as the painting masterfully combines portraiture with elements of landscape—a style reminiscent of works he later produced in the Alps in 1904.
The composition of the painting is both dynamic and harmonious. Alexander’s reclining figure, angled parallel to the stream’s flow, creates a strong sense of perspective. The intensity of the diagonals is gently softened by the curved body of the salmon, the net resting by his legs, and the swirling water cascading around the rock.
Sargent captures a poignant juxtaposition between Alexander’s dreamy, youthful demeanor—accentuated by his school cap—and the lifeless fish at his side. The combination evokes a sense of nostalgia, subtly blending the themes of innocence and the inevitability of change, set against the backdrop of nature’s enduring beauty.
WHY I LIKE IT:
I don’t usually favour portraiture combined with landscape painting, but this piece is an exception. The brushwork alone is mesmerizing, and Sargent’s precision in his use of color is remarkable.
The painting captures a timeless moment: a boy at ease, immersed in nature or lost in daydreams. Sargent masterfully portrays the ethereal interplay of light on water, fabric, and skin with extraordinary skill. While the figure and background are rendered with realistic proportions and textures, the brushstrokes remain loose and dynamic, infusing the scene with a sense of movement and immediacy.
3.
The Daughters of Edward Darley Boit
Date: 1882
Medium: Oil on canvas
Dimensions: 221.93 x 222.57 cm
This evocative group portrait of the four daughters of Edward Darley Boit, an American expatriate living in Paris, is among Sargent’s most enigmatic works. The composition places the girls within a vast, shadowy interior, some partially obscured, which lends the painting an air of mystery.
The Daughters of Edward Darley Boit was painted in the autumn of 1882 in Paris, during a period when Sargent was creating portraits for members of the American expatriate community. Although the exact details of the commission remain unclear, Sargent was a close friend of Edward Darley Boit and Mary Louisa Cushing Boit, the girls’ parents.
The painting’s setting is the foyer of the Boits’ apartment, a dimly lit space where Sargent arranged the four sisters—Mary Louisa (then eight), Florence (fourteen), Jane (twelve), and Julia (four). While the commission may have begun as a request for a traditional family portrait, the Boits supported Sargent’s decision to create something far more unconventional: a work that is part portrait, part interior study.
Each child is depicted as an individual, yet the obscured features of two of the girls, coupled with the lack of visible interaction among them, defy the conventions of typical portraiture. This unusual composition puzzled critics when the painting was first exhibited.
The painting has often been compared to Diego Velázquez’s Las Meninas due to its dynamic use of space and placement of figures. It not only captures the individuality of each child but also reflects the complex, perhaps unspoken, dynamics within the family.
WHY I LIKE IT:
I painted the little girl standing on the left, near the floor carpet, as a study of Sargent’s painting technique. However, my paper was too small to capture the intricate brushwork of her face, so I focused on her body instead.
Unlike traditional family portraits, the composition feels like a snapshot of a fleeting moment—almost photographic in its candidness—while still retaining the deliberate staging of fine art. What makes it truly innovative is the absence of a single focal point; instead, the viewer’s eye moves fluidly between the figures and the surrounding space. I particularly admire the use of light and shadow, which creates striking and dramatic contrasts.
4.
An Artist in his Studio
Date:1904
Medium: Oil on canvas
Dimensions: 56.2 x 72.1cm
An Artist in His Studio was painted in August 1904 in Purtud, located in the Val d’Aosta region of Italy, during Sargent’s summer vacation in the Italian Alps. The painting portrays Sargent’s friend, the Italian artist Ambrogio Raffele, absorbed in his work on a bucolic landscape. Raffele is depicted in his cramped and cluttered hotel room, repurposed as a makeshift studio, positioned in the left corner alongside his in-progress canvas.
The scene is rich in detail: smaller outdoor sketches are scattered around the room, while Raffele holds a palette dotted with thick, vibrant paint and a handful of brushes. He appears to study a small snapshot, squinting in contemplation of his work. The casual disarray of the space is emphasized by the rumpled white linens of an unmade bed, carelessly adorned with Raffele’s straw hat and shirt. Sargent, known for his mastery of painting white on white, displays remarkable skill here, using dazzling brushwork to bring life to the textures and tones of the scene.
This painting was created during a period when Sargent revisited his interest in interior scenes. Like others from this time, An Artist in His Studio features bold, expressive brushstrokes, impasto, and a masterful interplay of light, showcasing Sargent’s ability to elevate a seemingly mundane moment into a work of extraordinary beauty.
Why I like it:
I believe I can resonate deeply with this scene—it feels like a tribute to all painters. It reflects their shared dedication, struggles, and triumphs. The painting highlights the labor-intensive nature of art, from the scattered tools to the unfinished canvas, showcasing the effort and commitment behind every stroke. It captures the unglamorous reality of artistic life, presenting a universal experience that could belong to any artist at any time. I think most painters can relate to finding joy in the process of creation, even when the final outcome remains unknown or unfinished.
5.
Beatrice Townsend
Date:1882
Medium:Oil on canvas
Dimensions: 81.9 x 58.4 cm
Eleanor Beatrice Townsend (1870–1884) was the sixth of seven children born to John Joseph Townsend, a prominent New York attorney and politician, and Catherine Rebecca Bronson Townsend, a close friend of John Singer Sargent and the subject of another portrait by the artist.
Sargent’s portraits of children rank among his earliest and most captivating works. Far from presenting idealized visions of childhood, these paintings serve as insightful character studies, capturing the individuality of his young sitters. In this portrait, Beatrice holds a small terrier close to her side, a detail that underscores her personality and adds a personal touch. As one art historian remarked, “Sargent’s sensitivity to the complexities, intensities, and uncertainties of adolescence, especially of females, is a marked feature of his portraiture.”
Beatrice’s confident and self-assured demeanor is evident as she meets the viewer’s gaze directly, displaying a maturity beyond her years. Tragically, this remarkable portrait also serves as a poignant reminder of her brief life—Beatrice passed away just two years later, at the age of fourteen, due to peritonitis.
Why I like it:
This portrait may appear simple, with its restrained use of color and understated technique, yet the luminous skin tones and the soft interplay of light across her face are truly exceptional. I admire the expression and posture, which convey a sense of poise and elegance. The painting feels unpretentious, as she radiates quiet confidence and grace.
It’s clear why Sargent’s work continues to captivate art lovers around the world. Each painting offers a unique glimpse into his genius—his extraordinary ability to blend technical precision with emotional depth and atmospheric beauty. From the quiet magic of twilight to the elegance of portraiture, these works remind us of art’s timeless power to inspire, evoke wonder, and tell compelling stories. I am both amazed and inspired by his work and believe these paintings are among the greatest gifts an artist can offer to the world.
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