My internet connection is shakey tonight, I am going to write a paragraph or two and get off while I still can. The paintings on this post are by Anders Zorn (1860-1920) who was a Swedish contemporary of Sargent. I think their work has a lot in common. Zorn's work wouldn't be mistaken for Sargents, but their thought processes had a lot in common.
Zorn, like Sargent painted dircttly from life and worked in alla prima technique. He was a little unusual in that he generally used a palette restricted to three colors., red (vermilion), yellow ochre, and black, plus of course white. His work is painted with the same sort of structural brushstroke as Sargent's and he, like Sargent, was very attentive to edges.
Zorn did a lot of portraits and was extremely sucsessful. In fact he made fortunes. His home was full of great paintings and art objects. When he died the equivalent of hundreds of thousands of dollars in today's money was found hidden in his studio. Also tubes of blue paint, but he did tend to eschew the use of blue throughout his entire career.
Zorn was prodigiously talented as a young man. He came from a humble background but became a society portraitist, working often in Paris and making seven separate painting trips to the U.S. to do heads. He painted over 500 commissioned portraits. Zorn's heroes were Velazquez and Rembrandt.
I read recently that Zorn worked very deliberately, but quickly, making each stroke but once. Each stroke represented something, there was no indecision, that may have been the result of doing so many watercolors early in his career. Evidently he had the habit of making the stroke first, in the air in front of his canvas, rehearsing for the actual brush stroke on the painting.