American expatriate John Singer Sargent may have downplayed his talent by commenting that “[a] portrait is a picture of a person with something wrong with the mouth,” but in truth, Sargent was one of the foremost portrait painters of his time. Members of high society, major political figures, actresses and writers all let Sargent recreate their image, Sargent having an exceptional talent for capturing facial distinctions and flesh tones, and a marked gift in his choice of color and characteristic pose.

Madame X

Sargent’s 1884 Madame X was a succès de scandale that caused a big stir when it was exhibited at the Paris Salon. The subject was Louisiana-born Virginie Amélie Gautreau, an ambitious young social climber and wife of a wealthy French banker. Madame Gautreau’s conduct and striking appearance were definitely of note among late 19th century Parisian circles, but once Sargent’s portrait was displayed all intrigue turned to outright disapproval.

In this particular work, Sargent’s choice of pose and palette came across as a bit risqué and reinforced perceptions of Madame Pierre Gautreau as a brash, self-centered American. Her profile is haughty, her plunging black neckline reveals too much white flesh, and she seems to be flaunting her sexuality instead of parlaying it discreetly in the preferred Parisian manner. In the long run, however, while the portrait brought about a sharp decline in Virginie's personal stock, Madame X the painting would eventually be considered as one of Sargent’s most notable efforts.

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