John Singer Sargent: The Choice of Subject

"Gassed" by John Singer Sargent

"The subject which John Singer Sargent had been specially invited to paint was a scene illustrating the co-operation of British and American troops. But there were difficulties with that as he discussed in a letter: 

'British and American troops working together,' has sat heavily upon me for though historically and sentimentally the thing happens, the naked eye cannot catch it in the act, nor have I, so far, forged the Vulcan's net in which the act can be imprisoned... How can there be anything flagrant enough for a picture when Mars and Venus are miles apart whether in camps or front trenches...

'I have only seen three fine subjects with masses of men - one a harrowing sight, a field full of gassed and blindfolded men - another a train of trucks packed with 'chair a cannon' - and another frequent sight a big road encumbered with troops and traffic...'

But in the end it was the scene which he witnessed with Professor Tonks, that was chosen as the subject for his war picture 'Gassed.' During an attack by the English the Germans had put down a gas-shell barrage, which failed to stop the advance. Later in the day the heat of the sun set the gas in movement, and the 99th Brigade and the 8th Brigade of the 3rd Division, passed through it to capture Courcelles and suffered its effects. It is the men of these units that appear in the picture. When the picture was finished Sargent was in doubt what to call it.

He wrote: 'I don't quite agree with your objections to the title 'Gassed.' The place is merely a clearing station that they were brought to - the date would lead people to speculate as to what regiments were reduced to that pitiable condition, and I think their identity had better not be indicated. The word 'gassed' is ugly, which is my own objection, but I don't feel it to be melodramatic, only very prosaic and matter of fact.'

The painting carries a great deal of sentimental significance. He has shown some of the horror of War, much of the moral quality of those taking part in it, and has interpreted the emotional intensity of a scene calculated to rouse compassion in the onlooker. The subject has been treated with impressive simplicity with the severity of a processional frieze. There is no striving after the picturesque. Dramatic account has been entirely dispensed with. He has given a spiritual value to realism, and dignity and solemnity to the facts. The desultory rhythm of the figures silhouetted against the sky, the diffused light of evening, the harmony of colour with which the scene is invested, have entered into the inspiration."

To be continued

(Excerpts from "John Sargent" by Evan Charteris.)