The way this effect works is twofold. First, like the corner of a piece of cut glass, the facet of form that picks up the highlight is painted with a crisp stroke of opaque paint. Second, because the color of a highlight is usually complementary to a form's actual color-in this case a bluish highlight against orange flesh - it sets up a color vibration that causes the passage to literally glisten with contrast.

In both Beach of Valencia by Morning Light and After the Bath, Sorolla relied heavily on the effects of reflected light to achieve added luminosity. Notice, for example, the head of the figure with a straw hat in After the Bath and how the left side of his nose and cheek reflect the light-struck passages of the white cloth. So too with the underside of the woman's left wrist and arm, which shows the warm light reflecting off the sandy beach. In both instances, the addition of the reflected lights gives the forms a sense of belonging to the environment.

A most obvious example of reflected light is in Beach of Valencia by Morning Light. Here, the colors of the sky, water and sand reflect myriad effervescent colors into the shadows of the foreground figures. Following the previously mentioned rule of not going any lighter than a middle-gray value in shadow, however, the artist wisely resisted the temptation to overstate these important reflective devices.

BRUSHWORK, PAINT HANDLING AND EDGES

Some painters favor a broadbrush technique, others are more themselves using small, dot-like strokes. Sorolla explored both. Most of his works, however, fall into the broad-brush category. Like the French and American impressionists, he applied paint thickly to his canvas.

Study the paint handling in the collection of pictures shown and notice how the strokes follow the flow of water, growth of vegetation or direction of a fold, not only capturing the gesture but also describing its form. The treatment of the waves, for example, in Beach of Valencia by Morning Light appears stabbed on the canvas with stacatto-like daubs, while the strokes in the drapery in After the Bath sensuously caress the various forms. In both cases, however, the brushwork displays a vitality that creates an energy and a sense of movement impossible with a more flaccid treatment. Regardless of how the paint is applied, the work is stamped with the artist's style of expression.

Sorolla's treatment of edges can also be an education. Notice the contour of the standing figure in After the Bath. Beginning with the soft to firm edges of the face, neck and hair, the edges turn sharp when showing the black trim of the gown. Moving down the figure, the lower torso and legs are softer until reaching the hard edge of the toes. Without this kind of sensitivity to edges, the figure would cease to exist in space, appearing instead as a two-dimensional cut-out.

A SENSE OF CANDOR

Except for some of Sorolla's portraits of dignitaries - and even here the gestures are credibly lifelike - he had the magical ability to capture a figure in its most natural attitudes. No one looks posed. Each person is either bending over, bathing, carrying a child or reaching for an object. Even figures in repose appear natural.

Because of his strong draftsmanship, Sorolla was able to catch the form and gesture of a figure with only a few lines of charcoal or colorful swipes with a loaded brush. While it's tempting to speculate that he used photographs and carefully reconstructed his complex scenes in a studio, it's on record that they were done completely from life.

There are 24 figures represented in Beach of Valencia by Morning Light, yet owing to the superior capabilities of the artist, each one is depicted in some sort of perfectly natural activity.

GOING OVERBOARD

Many students who look at a Sorolla want to paint like him. I know I did. The energy, feeling of light and color, and optimistic choice of subjects, when first taken in, can indeed be intoxicating. But try not to go overboard, because you have your own special gifts. When Edward Hopper was studying with Robert Henri his work showed the influence of Henri's tonality and brushwork. But Hopper's mature works bear little resemblance to that of his teacher.

Sorolla acted as a similar catalyst to generations of successful painters and illustrators. But the ones who have made their mark are those who used the wealth of knowledge Sorolla has to offer. So absorb every possible bit of information you can. Make copies, diagrams and color notes. Try using a Sorolla color scheme as the basis for a subject of your own. Even take a shot at painting some similar themes. But don't forget, it's your uniqueness, just as it was Sorolla's, that will measure your success as an artist.

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