John Singer Sargent, renowned for his intriguing character studies through portraiture, is the focus of an anticipated exhibition, “Sargent and Paris,” at the Metropolitan Museum of Art. This showcase will highlight Sargent’s formative period during the decade he spent in Paris from the age of 18. During this time, Sargent honed his skills and developed a style that would lay the cornerstone for his subsequent successes, characterized by a vibrant interplay of color, light, and shadow.
PROJECT OVERVIEW
Artist: John Singer Sargent
Curator: Stephanie Herdrich
Exhibition: Sargent and Paris
Venue: Metropolitan Museum of Art
Period: 1874-1884
Highlight Work: Madame Pierre Gautreau (Madame X)
The exhibition will include Sargent’s celebrated portrayal of Madame Pierre Gautreau, famously known as Madame X. The piece stirred significant controversy upon its unveiling due to its provocative depiction, particularly the depiction of the dress strap hanging daringly off the shoulder. Curator Stephanie Herdrich notes that the works from this era remain some of the most passionate and ambitious of Sargent’s career. The public’s reaction to Madame X inspired Sargent to delve into the contrasts between formality and casualness, illusion versus reality, and the dynamic interplay of motion and stillness.
Following the public’s reaction to Madame X, Sargent completed “Le Verre de Porto,” capturing Edith and Albert Vickers post-dinner. Herdrich highlights Sargent’s obsession with capturing light and creating atmosphere. In this painting, Sargent’s brushwork, combined with his strategic use of color and shadow, effectively conveys the languid, opulent hours following a meal, offering viewers a palpable sense of mood and scene.
The exhibition also offers glimpses into Sargent’s quieter compositions and explorations beyond portraiture. Through travels to locations like the Netherlands, Spain, North Africa, and Italy, he captured serene moments with unknown sitters alongside architectural scenery. His pieces from these travels portray nature’s intrinsic beauty—elements like wind, waves, and smoke—as well as the elegance of 19th-century domestic life, offering a holistic view of the era’s aesthetic.
Sargent’s portrait of Madame Paul Escudier, also known as Louise Lefevre, exemplifies his mastery of mood and setting. The painting conveys the suffused light of a midwinter afternoon filtering through delicate draped windows, casting an inviting glow on a room minimally adorned with a single ornately shaped mirror. The representation of Lefevre’s lush velvet chair signifies Sargent’s growing confidence and stylistic maturity, capturing the immediacy of her presence even after she leaves her seat.
In another notable piece, “Ramón Subercaseaux in a Gondola,” Sargent paints a casual portrait of a friend, revealing a more laid-back and experimental side. Similarly, “Young Man in Reverie” captures an intimate, informal moment charged with sensual energy. Such pieces underscore the brilliance of Sargent’s developing mind and reflect his burgeoning ability to articulate the nuances of expression through light, composition, and gesture. This period encapsulates Sargent’s exploration of what makes a moment worth immortalizing, providing insight into his evolving artistry during these impressionable years in Paris.
