Carnation, Lily, Lily, Rose (1886 CE)

Carnation, Lily, Lily, Rose is a luminous oil painting by John Singer Sargent, capturing the delicate beauty of two young girls lighting paper lanterns in a garden at dusk. This evocative work, with its soft interplay of light and shadow, invites viewers into a serene moment of childhood innocence, surrounded by vibrant flowers. Housed at Tate Britain in London, it stands as a testament to Sargent’s skill in portraying fleeting natural light and atmosphere.

Created over two summers from 1885 to 1886, Carnation, Lily, Lily, Rose marked a pivotal moment in Sargent’s career. Following the scandal of his 1884 portrait Madame X at the Paris Salon, which tarnished his reputation, Sargent retreated to Broadway, Worcestershire, an artists’ colony in England. This painting, completed by October 1886, helped restore his standing when exhibited at the Royal Academy in 1887. Inspired by a boating trip on the River Thames in September 1885, where Sargent observed Chinese lanterns glowing in trees, the work also draws from the refrain of Joseph Mazzinghi’s song Ye Shepherds Tell Me and Robert Louis Stevenson’s A Child’s Garden of Verses.

Several intriguing stories surround the creation of Carnation, Lily, Lily, Rose. Sargent initially intended to use five-year-old Katherine, the daughter of his host Francis David Millet, as a model but switched to Dolly (11) and Polly (7) Barnard, daughters of illustrator Frederick Barnard, for their blonde hair, which better captured the ethereal quality he sought. The painting process was so meticulous that Sargent worked for only a few minutes each evening to capture the exact dusk light, often replacing worn-out paper lanterns. As autumn set in and garden flowers wilted, he resorted to potted and artificial blooms, showcasing his dedication to authenticity despite logistical challenges.

The artwork holds a significant place in late 19th-century art, bridging realism and Impressionism. While Sargent is not strictly an Impressionist, his “en plein air” technique and focus on light align with the movement’s principles. The painting reflects the aesthetic movement’s emphasis on beauty and nature, evoking themes of childhood innocence and the ephemeral quality of twilight. Its title, drawn from a popular song, underscores the interplay of art, music, and literature. The work’s mixed reception at the Royal Academy—praised by figures like Sir Frederic Leighton but criticized as “Frenchified” by some—highlights its innovative departure from Sargent’s typical portraiture, contributing to his career revival.

The painting is executed in oil on canvas, measuring 174.0 cm × 153.7 cm (68.5 in × 60.5 in). Sargent worked “en plein air” in the garden of Farnham House in Broadway, Cotswolds, to capture the fleeting light of dusk, painting for brief periods each evening from September to November 1885 and continuing in 1886. The canvas was later trimmed by 61 cm (24 in) on the left to achieve a nearly square composition, enhancing its intimate feel. Sargent used a purple tint to emphasize the twilight atmosphere and supplemented the garden with artificial flowers when natural blooms faded. The absence of a horizon line draws attention to the lush greenery and glowing lanterns, creating a dreamlike effect.

After its completion, Carnation, Lily, Lily, Rose was exhibited at the Royal Academy in 1887, where it garnered attention despite mixed reviews. It was purchased by the Tate Gallery (now Tate Britain) in London through the Chantrey Bequest, marking the first Sargent work acquired by a public museum. The painting has remained at Tate Britain, where it continues to be a highlight of the collection.