inting’s bright colors and decorative qualities created a major stir in the British art world. Members of the progressive New English Art Club were especially receptive to the work’s Impressionist qualities, and as a result, they hailed him as the leader of the so-called "dab and spot school." When "Carnation, Lily, Lily, Rose" was purchased by the Chantrey Bequest for the nation, Sargent’s reputation in England was given a further boost. Sargent’s Impressionist inclinations were also sparked by his growing relationship with Claude Monet. In 1885, he made what would be the first of several visits to Monet’s home in Giverny. Indeed, Sargent is believed to have met the Frenchman at the second Impressionist exhibition in 1876. However, their friendship did not develop until the mid-1880s, when Sargent began to take a greater interest in painting outdoors. In his well-known canvases, "Claude Monet Painting at the Edge of a Wood" (1885; Tate Gallery, London) and "Claude Monet in his Bateau-Atelier" (1887; National Gallery of Art, Washington, D.C.), Sargent paid homage to his friend as well as to the very act of painting in the open air. His admiration for Monet and his artistic accomplishments is also revealed by the fact that between 1887 and 1891, Sargent purchased four of his paintings for his personal collection. He visited Monet in Giverny again in 1887, 1888, 1889 and 1891. Monet obviously admired Sargent’s work as well, for he is known to have hung several of Sargent’s paintings in his bedroom, along with other canvases by other artist-friends. Sargent’s popularity in England reached its zenith during the mid-1890s. By this point, the artist had moved away from the sharp lighting of his early portrait work, adopting a softer chiaroscuro and buttery brushwork that enhanced the luxury and grandeur of his portraits. Although his elegance had already been ac...
