Portrait of Madame X
Perhaps Sargent's most famous work, this portrait depicts a young socialite, an American expatriate named Virginie Amélie Avegno Gautreau and known as Madame X, who was married to a French banker, Pierre Gautreau. The Gautreaus did not commission the work. In fact, it was Sargent who initiated the project, intrigued by the opportunity to capture this scandalous Parisian society figure known not only for her stunning looks but also, as many rumored, love affairs. The concept of painting a portrait that speaks about the sitter's character was an entirely modern one. Accordingly, Sargent's Madame X stands at the forefront of Modern Portraiture.
Sargent vividly accentuates her striking presence by exposing her alabaster skin with a daring décolleté and setting her against a background of warm, muted, brown tones. The revealing, corseted, black satin dress with thin, jeweled straps in which she is posed, shows off her stunning figure and, combined with the ornate style of her auburn hair and powdered complexion, set a standard for contemporary aristocratic beauty. Her notorious reputation is hinted at through her particularly self-confident pose.
Painting this portrait proved a challenge for both Sargent and Gautreau. In fact, the artist drew and painted more than thirty studies of Gautreau over the course of several months in its preparation, in the end using an entirely different pose than that originally intended. Gautreau reportedly grew bored with their sessions and would frequently run off to various social obligations, leading Sargent to lament "the unpaintable beauty and hopeless laziness of Madame Gautreau."
Though both artist and sitter had high hopes for the work, this portrait was poorly received upon its exhibition at the Paris Salon in 1884. This blow effectively put an end to Sargent's hopes of becoming a society painter in France, and was partially responsible for his move to London. Nevertheless, despite the controversy over this work, the artist considered it a success, commenting later in 1916, "I suppose it is the best thing I have done." Currently, of course, it is his most iconic work.
Oil on Canvas - Metropolitan Museum of Art