SARGENT
[To the Editor of the SPECTATOR.] SIR,—I have been hoping during these past six weeks that one of the many art critics who have written about Sargent's work (most of -them with a more or less prominent note of disparagement) would have taken advantage of the very obvious opportunity of indicating to a public eager for instruction wherein lies the superiority of Van Gogh and his kind over Sargent. It happens that each of these artists painted a study of an old chair. Both pictures have simul- taneously been accessible to the public : Sargent's at Burlington House, Van Gogh's at the Tate Gallery. To the elect the latter is an example of the painter's fine frenzy to " express himself in paint," Sargent's is merely a photograph of facts. To the uninspired observer this photograph seems to reveal the lovely subtleties of colour, the exquisite grada- tions of light and shade which may be found even in a most prosaic object, whereas Van Gogh's rendering of an almost identical subject appears to be a rather ill-drasirn study painted a disagreeable mustard yellow. Cannot Mr. Roger Fry or some other authority show us why we ought to be inspired by the plain yellow chair and why we are wrong to admire the other ? Perhaps he will reply by referring to Peter Bell. In that case may we at least ask where else we may find such coloured " photographs " as those which Sargent has left for our delight ?—I am, Sir, &c.,
A SEEKER AFTER TRUTH.
Previous page
