Two studies for soldiers of Gassed John Singer Sargent (1856-1925)

The drawing presents two distinct figures within a confined space, rendered in charcoal with evident gestural marks. The composition is divided roughly into halves, each depicting a soldier seemingly affected by some unseen trauma.
On the left, we observe a man standing rigidly, his posture conveying a sense of disorientation or perhaps an attempt at maintaining composure. His head is tilted slightly upward, and his gaze appears directed outward, yet lacks focus. He holds what seems to be a rifle loosely in one hand, while the other arm extends outwards as if attempting to ward off something intangible. The lines defining his form are somewhat hesitant, suggesting vulnerability beneath a facade of military bearing.
The figure on the right is more dramatically contorted. Here we see a man hunched over, his face buried within the folds of what appears to be a gas mask or protective headgear. His body leans forward, conveying an overwhelming sense of distress and physical discomfort. The lines used to depict him are more agitated and frantic than those employed for the figure on the left, emphasizing the intensity of his suffering. A rifle is visible at his side, but it seems almost incidental to his immediate state.
The drawing’s monochromatic palette contributes to a somber atmosphere, devoid of any visual distractions. The lack of color amplifies the focus on form and gesture, allowing for an intimate portrayal of psychological distress. The sketchy nature of the execution suggests a rapid observation or preliminary study, lending a sense of immediacy and authenticity to the depiction.
Subtly, the arrangement of the figures implies a narrative – perhaps a moment of shared experience, or contrasting responses to a similar ordeal. The differing postures suggest that while both men are affected, their reactions diverge significantly. One attempts to appear unaffected, while the other succumbs entirely to his suffering. This duality hints at the complex and varied psychological toll exacted by conflict, beyond the immediate physical dangers. The drawing’s power lies in its ability to convey a profound sense of human fragility within the context of an unseen, yet palpable, crisis.