Threaded Narratives: Unraveling Fashion in Sargent’s Canvases

Renowned painter John Singer Sargent, often critiqued for his seemingly lavish and superficial portraits, takes center stage in the exhibition “Fashioned by Sargent” at the Museum of Fine Arts, Boston. The showcase of approximately 50 canvases elegantly weaves together style and substance, dispelling the notion that Sargent merely indulged the whims of his elite subjects. This exhibition, soon to grace, Tate Britain delves into the intricate relationship between sumptuous attire and Sargent’s nuanced depiction of difference and societal norms.

While D.H. Lawrence once dismissed Sargent’s works as “yards of satin,” the exhibition unveils a more profound narrative beneath the luxurious fabrics. Beyond the opulent clothing showcased, the collection emphasizes Sargent’s sensitivity to societal conventions, gender norms, and his subjects’ outsider status, reflecting his own status as an American expatriate.

Sargent’s ability to challenge aristocratic norms and amplify the voices of suffragists, flamboyant men, and Jewish families navigating societal prejudices is evident throughout the exhibition. A striking example is the 1901 portrait of sisters Ena and Betty Wertheimer, daughters of a German Jewish art dealer. Clad in crimson velvet and white satin, the sisters exude confidence, challenging societal expectations with broad smiles and assertive poses.

The exhibition delves into Sargent’s role as an outsider, born in Florence and educated in Paris, who navigated between London and Boston. Speculations about his sexual identity further highlight his position on the fringes of societal norms. An examination of his drawings at the Isabella Stewart Gardner Museum suggests hints of homoerotic desire.

Sargent’s inclination towards theatricality is apparent in his portraits. His portrayal of Ellen Terry in the role of Lady Macbeth, adorned in a shimmering blue and green gown known as the “Beetle Wing Dress,” reimagines the actress as a Pre-Raphaelite heroine. The exhibition emphasizes Sargent’s ability to transform theatrical moments into images deeply rooted in the history of painting.

In portraying status-obsessed British aristocrats, Sargent’s irreverence is palpable. His colossal painting of the Marquess of Londonderry, replete with royal regalia, borders on royal cosplay, emphasizing Sargent’s meticulous attention to ceremonial garb.

The Fabric serves as an active element in Sargent’s works, with drapes and folds supplementing his subjects’ outfits. His affinity for fabrics with reflective sheens allowed him to employ rapid, wet-on-wet brushwork, reminiscent of 17th-century Dutch painter Frans Hals. Sargent’s final gallery, influenced by Impressionists like Monet, explores the prismatic effects of sunlight on white clothing, adding a touch of modernism to his repertoire.

The exhibition, curated by Erica E. Hirshler, showcases Sargent’s influence in selecting his sitters’ garments. Anecdotes from the making of various portraits underscore his authority in shaping the artistic narrative through clothing. From challenging aristocratic conventions to experimenting with gender roles, Sargent’s portraits offer a multifaceted view of Gilded Age society.

In a time where museums are brimming with portraiture, “Fashioned by Sargent” stands out not only for its opulence but also for its revelation of essential humanity beneath the layers of satin and velvet. Sargent’s portrayal of sumptuous attire transcends mere aesthetics, becoming a powerful lens through which societal nuances and individual identities are explored.