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.
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| 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. |
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| Madame Ramon Subercaseaux (Amelia Errazuriz) 1880-81 (no black keys on the piano! a subtle sign of laziness?) |
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| Edith, Lady Playfair (Edith Russell) 1884 |
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| Mrs. Edward L. Davis (Maria Robbins) and her Son, Livingston Davis 1890 |
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| Eleanora O'Donnell Iselin (Mrs. Adrian Iselin) 1888 |
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| Helen Sears, 1895 One of the rare portraits in the exhibition which is a little indistinct, facially, but still commands your attention. |
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| Mrs. Joshua Montgomery Sears (Sarah Choate Sears) 1899 |
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| Mrs. Edward Darley Boit (Mary Louisa Cushing) 1887 |
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| 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? |
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| Pearls, any one? |
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| 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. |
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| Henry Lee Higginson, 1903 |
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| Dr. Pozzi at Home, 1881 Perhaps the polar opposite of the Higginson portrait, a striking, and unconventional portrait |
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| Miss Jane Evans, 1898 This woman was head of a school for boys and evidently ruled with the proverbial "iron hand". |
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| "Yes, Maam, whatever you say! |
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| Costume for Carmen Dauset Moreno 1890 |
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| La Carmencita (Carmen Dauset Maureno) 1890 |
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| 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. |
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| Ellen Terry as Lady Macbeth 1889 |
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| 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!" |
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| Sir Frank (Athelstane) Swettenham 1904 The self-importance just flies out at you |
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| Lilliana Porter "Untitled with Fallen Chairs" 2009 |
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| Yagi Akira Nesting covered boxes, 1994 |
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| An etching on inch square |
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| 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! |
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