Spanish Church Interior

1874–1878

Carolus-Duran's atelier and the alla prima method

Sargent studies with the young portraitist Carolus-Duran, whose influence is pivotal for him from 1874 to 1878: instead of the traditional underdrawing, the atelier teaches the alla prima method of working directly on the canvas with a loaded brush, derived from Velázquez. Sargent is the star student in short order, and one of his paintings in this manner prompts the remark “the student has surpassed the teacher”.

after 1878

A trip to Spain: Velázquez, music and dance

After leaving Carolus-Duran's atelier Sargent visits Spain: he studies the paintings of Velázquez with passion, absorbing his technique, and is entranced with Spanish music and dance; the trip re-awakens his own talent for music, which finds visual expression in his early masterpiece “El Jaleo” (1882).

early 1880s

Full-length portraits of women at the Salon, year after year

Upon his return to Paris Sargent quickly receives several portrait commissions and his career is launched: in the early 1880s he regularly exhibits portraits at the Salon, mostly full-length portrayals of women such as “Madame Edouard Pailleron” (1880, done en plein air) and “Madame Ramón Subercaseaux” (1881), continuing to receive positive critical notice.

1881–1883

First works at the Royal Academy exhibitions

Even before arriving in England Sargent begins sending paintings for exhibition at the Royal Academy: “Dr. Pozzi at Home” (1881), a flamboyant essay in red and his first full-length male portrait, and the more traditional “Mrs. Henry White” (1883).

1882

Henry James urges him to move to London

As early as 1882 Sargent considers moving to London, repeatedly urged to do so by his new friend, the novelist Henry James, who had praised the artist's early work.

1882

The start of a long friendship with Albert de Belleroche

In 1882 Sargent meets the aristocratic artist Albert de Belleroche, with whom he later travels frequently; scholars regard him as Sargent's likely lover.