Sargent's fantastic portraits at the MFA

 I am perhaps ashamed to admit to not having ever been much interested in portraits.  Except for Rembrandt, I haven't sought them out, but lately, I have been surprised at how much pleasure I have had in faces, and the incredible artistic genius it takes to create an image which arrests you in your tracts. This happened over and over with me at the current exhibition at the MFA of Sargent portraits, with emphasis on what the portrayed is wearing.  And both in the magnificence of the clothes, and the effortless way in which with a single brush stroke he could convey silk, linen, fur, a slipper, a jewel; all of this makes me think that this man deserves to be thought of in the same rank as Rembrandt, Valesquez, etc.  Perhaps he is.  

And what is important is to recognize the genius of the exhibition.  The exhibit flows from one room to another, created by versatile walls that can be arranged at startling angles.  Even though the exhibition was very crowded, I had no trouble viewing everything.   And the way the exhibition ended with some of Sargent's outdoor whimsies was really gratifying.  

Here is a rather too long blog (sorry) which I hope gives you an idea of the riveting effect of some of these portraits.  I may find myself seeking out others in the future. 

Possibly by House of Worth (French)  1856-58
Lady Sassoon's opera cloak
Upon entering the exhibition, you see this dress, and on the oposite wall, Sargent's 
interpretation of it in the portrait. A great first impression.

Lady Sassoon (Aline de Rothschild)  1907

Madame Ramon Subercaseaux (Amelia Errazuriz)  1880-81
(no black keys on the piano! a subtle sign of laziness?)

detail of above

Edith, Lady Playfair (Edith Russell)  1884

detail

Mrs. Edward L. Davis (Maria Robbins)
and her Son, Livingston Davis  1890

detail

Eleanora O'Donnell Iselin (Mrs. Adrian Iselin) 1888

Helen Sears, 1895
One of the rare portraits in the exhibition which is a little indistinct, facially, but still
commands your attention. 

Mrs. Joshua Montgomery Sears (Sarah Choate Sears)  1899

Maybe painting hands takes as much genius as a face.

Mrs. Edward Darley Boit (Mary Louisa Cushing) 1887

Stunning

Mrs. Hugh Hammersley (Mary Frances Grant) 1892
Everything about this painting is extraordinary, from her in-you-face "I am special!" to the 
incredible velvet dress, the hem of that dress, the furniture, everything.  Why no necklace, I wonder?

Pearls, any one?

Mrs. Charles Thursby (Alice Brisbane) 1897-98
The exhibition points out the changing status of women, more independent, more 
participation in what used to be men-only pursuits.  Her aggressive sitting posture
demands your attention. 

Henry Lee Higginson, 1903

The founder of the Boston Symphony Orchestra, Sargent paints him as the perfect portrait of a 

man's man, very self-assured, relaxed in his confidence, doesn't suffer fools, etc.

Dr. Pozzi at Home, 1881
Perhaps the polar opposite of the Higginson portrait, a striking, and unconventional
portrait

Miss Jane Evans, 1898
This woman was head of a school for boys and evidently ruled with the proverbial "iron hand".

"Yes, Maam, whatever you say!

Costume for Carmen Dauset Moreno  1890

La Carmencita (Carmen Dauset Maureno)  1890

Alice Laura Comyns-Carr
"Beetle Wing Dress" for Lady Macbeth
This is a very striking dress (it has to be seen up close).  The dress is covered with
 glowing green beetle wings sewn on.
 

Ellen Terry as Lady Macbeth 1889

Robert Louis Stevenson and his Wife (Frances Van de Grift Osbourne)  1885
A woman standing next to me said "Ah, a perfect picture of modern marriage!"

Sir Frank (Athelstane) Swettenham  1904
The self-importance just flies out at you

As Susan and I had gathered our coats and headed to the exit, this little exhibit caught our attention: "Miniatures", all tiny artistic creations. 

Lilliana Porter
"Untitled with Fallen Chairs"  2009

Yagi Akira
Nesting covered boxes, 1994

An etching on inch square

An Albrecht Durer
Is that her breast, or an apple?
Again, about an inch square.

What a pleasurable morning.  What an eye-opening experience. 
What a gift to be near Boston!

The Forbes Museum, Milton, MA

 One of the great shipping families, the Forbes family gained trading rights in China, was part of the Opium tragedy. The house is a tribute to all things Asian.  The largest part of the collection of Chinese porcelain and art became the foundation of the Peabody-Essex Museum, but the house still contains a huge representation of the 19th century arts of China and is a very rewarding visit. Mark Slawson suggested the visit, and now I need to have Susan see this remarkable place. 

On the grounds are some enormous Beeches

The description of the copy of Abraham Lincon's birthplace.  One of the Forbes ladies was
a huge fan of Lincoln, and a room in the house houses Lincoln memorabilia.

The barn for the estate

An enormous bronze bell

Inside the house, a model of a Chinese junk.

Everywhere you look, in every nook and cranny are magnificent pieces of pottery.  In dark hallways and in cabinets, the house is filled with masterpieces, hidden away like a lot of the artwork in the
Isabella Stewert Gardner Museum. 

A commissioned bowl for the Forbes family. Almost two feet across.

Inside

And an Imari piece just as huge. 

The stairway is worth the visit alone. 

A game box, painted in black lacquer and gold leaf

Guyan, Goddess of Compassion?

Hou Qua, the wealthiest man in Asia
(read below)

In the Lincoln room, a statue of Lincoln, Grant, and Edward Stanton,
Secretary of War

U.S.S Monitor in battle

A Chinese reclining reading chair

Shaving stand

This is identical to the decoration I have in my circular table, 
probably from Malaysia or Thailand

Entirely painted by hand.  Look at the foliage.

I was told this was the most valuable rug in the house. 

A pano of the kitchen area downstairs

Look at the stove for heating irons

A fantastic architectural creation.  

And a final view of the front of the house. 

Thank you, Mark, for suggesting this.  Lunch was at the superb
"Steel and Rye" restaurant