Notwithstanding the skilled brush strokes of a master artist, some of the techniques of John Singer Sargent’s trade are similar to those employed by today’s fashion stylists and online content creators.
Have you ever tried to photograph a black dress.. or a white dress for that matter? It’s pretty hard to achieve any indication of fabric texture and detail. In a similar vein, Sargent knew how difficult it was to paint pure black or all white garments, and wanted to show how accomplished he was at this art.
Not only do Sargent’s portraits look beautiful, they are also expertly styled, with a particularly acute eye for textiles; the way they fold, shimmer and dignify their sitter(s).
Much like people use photo editing tools today, Sargent was not averse to adapting his images to suit his own ideals of beauty. Changing a silhouette by removing a bustle, or using his studio prop skirt. Introducing asymmetry by removing a strap or a bow; adding a corsage - or several. He would even go so far as to create what today might be deemed a ‘deep fake’. Using his niece seven times as a model for cashmere shawls, changing the colour of dresses, and skilfully redesigning them on the canvas.
Tate Britain’s exhibition Sargent and Fashion explores the history, artistic development and creative journey of the painter through clothing and style. It includes items worn by his sitters, together with examples of garments and accessories from the Belle Époque and Edwardian eras.
The way Sargent treats his subjects and their attire changes through time, and according to the intimacy of his relationship with them. Yet, however far manipulated the finished portraits are from real life poses, the one thing that shines out is Sargent’s ability to capture the movement, essence and feeling of cloth, accessories and embellishments, using only the minimum of perfectly applied brush strokes.
Sargent and Fashion runs until 7th July and the exhibition will also be appearing on screen.