I love everything–the moody colors and textures–she needs no necklace, no jewels to prove she is someone unforgettable.
Madame X is mysterious; she is a promise unspoken.
She is dangerous the way uncharted seas are.
Her pose, the elegance of the black dress, the turn of her head—this portrait shouts “Here is a woman to be reckoned with.” Everyone who knew Virginie Amélie Avegno Gautreau said that in this Portrait of Madame X, American expatriate artist John Singer Sargent captured something real, something true about the woman, something well beyond the unashamed sexuality of the portrait.
About this painting, via Wikipedia:
(John Singer Sargent’s) most controversial work, Portrait of Madame X (Madame Pierre Gautreau) (1884) is now considered one of his best works, and was the artist’s personal favorite; he stated in 1915, “I suppose it is the best thing I have done.” When unveiled in Paris at the 1884 Salon, it aroused such a negative reaction that it likely prompted Sargent’s move to London. Sargent’s self-confidence had led him to attempt a risqué experiment in portraiture—but this time it unexpectedly backfired. The painting was not commissioned by her and he pursued her for the opportunity, quite unlike most of his portrait work where clients sought him out. Sargent wrote to a common acquaintance:
I have a great desire to paint her portrait and have reason to think she would allow it and is waiting for someone to propose this homage to her beauty. …you might tell her that I am a man of prodigious talent.
It took well over a year to complete the painting. The first version of the portrait of Madame Gautreau, with the famously plunging neckline, white-powdered skin, and arrogantly cocked head, featured an intentionally suggestive off-the-shoulder dress strap, on her right side only, which made the overall effect more daring and sensual. Sargent repainted the strap to its expected over-the-shoulder position to try to dampen the furor, but the damage had been done. French commissions dried up and he told his friend Edmund Gosse in 1885 that he contemplated giving up painting for music or business.
Writing of the reaction of visitors, Judith Gautier observed:
“Is it a woman? a chimera, the figure of a unicorn rearing as on a heraldic coat of arms or perhaps the work of some oriental decorative artist to whom the human form is forbidden and who, wishing to be reminded of woman, has drawn the delicious arabesque? No, it is none of these things, but rather the precise image of a modern woman scrupulously drawn by a painter who is a master of his art.”
Credits and Attributions:
Wikipedia contributors, “John Singer Sargent,” Wikipedia, The Free Encyclopedia, https://en.wikipedia.org/w/index.php?title=John_Singer_Sargent&oldid=904608954 (accessed July 25, 2019).
Madame X (Madame Pierre Gautreau), by John Singer Sargent, 1884 PD|100
Wikimedia Commons contributors, “File:Madame X (Madame Pierre Gautreau), John Singer Sargent, 1884 (unfree frame crop).jpg,” Wikimedia Commons, the free media repository, https://commons.wikimedia.org/w/index.php?title=File:Madame_X_(Madame_Pierre_Gautreau),_John_Singer_Sargent,_1884_(unfree_frame_crop).jpg&oldid=358225955 (accessed July 25, 2019).