Santa Maria della Salute 1913

John Singer Sargent painted this view of Santa Maria della Salute in oil. You can almost feel the Venetian sun beating down. The whole scene is drenched in warm light, achieved with a palette of creams, ochres, and browns. Up close, you see how Sargent lays down the paint, quick, confident strokes that capture the textures of stone and water. He doesn't fuss over details, instead, he suggests them with a few deft touches. Look at how he renders the steps leading up to the church. It's not about perfect realism, but about capturing the feeling of sunlight on stone. The painting is built up of layers, almost like a construction, each mark contributing to the overall effect. Sargent reminds me a bit of Manet, another painter who wasn't afraid to leave his brushstrokes visible. Both artists share this joy in the materiality of paint, embracing the process of making as much as the finished product. It's this love of paint that makes his work so alive, so immediate.