Between 1885 and 1887, renowned expat American painter John Singer Sargent crafted his most famous work. Carnation, Lily, Lily, Rose, a study of two girls in a garden lighting paper lanterns, is brought to life in creative non-fiction by accomplished writer Hugh Brewster. In the process, Brewster captures a community and an era: Sargent’s circle was a who’s who of late-Victorian painters and writers, including Edmund Gosse, Henry James, Edwin Austen Abbey, and Francis David Millet. Sargent painted at Millet’s home, and Millet’s daughter Kate narrates Brewster’s book. In fact, Kate was Sargent’s original model, standing for hours in a blonde wig, before she was replaced by fair-haired sisters Dolly and Polly Frederick. In time, Kate recovers from this blow, and is thrilled to see the finished painting hanging in the Royal Academy.

Kate’s sidelining makes her an ideal narrator. Outside of the main action, she can observe the scene, and her understandable feelings of disappointment and resentment make her a highly sympathetic character. Moreover, she is enchanted by the same things as Brewster’s target audience of eight- to 12-year-olds: a pet peacock, the silly antics of the painters, and a lavish birthday party for her mother (made even better by the exclusion of Polly and Dolly).

Paintings and sketches by Sargent and his friends, photographs, and documents amply illustrate this handsome, well-
researched, and engaging volume, which provides lessons in art history and Anglo-American relations as well as biographical detail. Brewster very helpfully appends an overview of Sargent’s career and thumbnail bios of Millet, Abbey, and Alfred Parsons, who all feature prominently in the narrative. While Sargent may not have the name recognition of Monet or Picasso, this book is an effective introductory biography.