[Illustration: PLATE VI.--LADY ELCHO, MRS. ADEANE, AND LADY TENNANT
(In the collection of the Hon. Percy Wyndham)
A portrait group of the daughters of the Hon. Percy Wyndham. In the background is the famous portrait of Lady Wyndham, mother of the Hon. Percy Wyndham, painted by the late G. F. Watts, O.M.R.A.]
He is a realist in the sense that Goya, the great Spanish painter of the eighteenth century, was one, for the Spaniard had just such an eagerness to come closer to the sense of life than the close imitation of its outside could bring him. Sargent is more polite, less impetuous, but still it is life as it is, that quickens his brush and informs all his virtuosity. His technique presents life vividly, but presents it to us with a sense of accomplishment in art, the equivalent of the accomplished art of living of the majority of his sitters. I am thinking of a portrait of a lady, and she is turning the leaves of a book, and in the lowered eyes, and the movement of the hand, there is more than arrested movement, there is an expression of an attitude consciously assumed which ordinarily would have been an unconscious one, and so accurate is the painting, that the sitter is detected as it were in this self-consciousness. In portraits of a ceremonial order, for people to sit in a group with a pleasant indispensable air of naturalness, is of course an affair on the artist's part of very thoughtful arrangement. But while composition should not betray the affectation of natural movement, movement must not be conveyed in a merely sensational, snapshot manner. For the slightest reflection on this matter will betray to us that in the latter pretension we are cheated, since we cannot fail to remember that to complete the canvas the sitter must have recovered the pose day after day, hour after hour, in the studio. Sargent's instincts are so tuned to the appropriate, having the tact which itself is art, that whilst in this kind of portraiture we do not question the grouping or the movement of his sitters as unreal, we do not accept it as quite natural. We instinctively know that in proportion as it is made to look too natural it would be unreal, untrue to the conditions which the painter's art actually encountered. Sargent, who permits nothing to stand between him and nature, will not permit such an inartistic lie to stand between us and the sincerity of his painting. He does not betray us in his love of what is of the moment, by giving us sham of this kind instead of the real thing.