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With help from research assistant Caroline Elenowitz-Hess, she scoured French journals of the day and discovered just how close Gautreau was to the center of French political power. (One engraving they found shows her next to the president and prime minister at a party.) She also found commentary from a writer for the newspaper L’Illustration who, in 1881, deemed Americans “inconsiderate”: “They have painters, like Mr. Sargent, who take away our medals and pretty women who eclipse ours.” (Despite not setting foot in America until he was 20, Sargent, the son of American parents, always considered himself an American.) The fact that Gautreau’s head was turned away from the viewer in Sargent’s portrait only enhanced the sense of her haughtiness.Raccoon Not Today Cupid Valentines Day Shirt
But while Gautreau’s décolletage and fallen strap garnered negative attention, the same Salon featured many paintings of women in low-cut dresses or nude figures “in the guise of allegory,” says Herdrich. So, to help contextualize Madame X, a room in the exhibition features projected reproductions of other artworks shown that year, as well as pertinent cartoons and reviews reinforcing the double standard around Gautreau’s perceived immodesty. John Singer Sargent, Dr. Pozzi at Home, 1881. Oil on canvas. The Armand Hammer Collection, Gift of the Armand Hammer Foundation. Hammer Museum, Los Angeles Even after Gautreau’s death, the lore persisted. In the 1950s, a Sargent scholar wrote that the American beauty, who was married to a French banker, had an affair with her gynecologist, Samuel-Jean Pozzi, whom Sargent famously painted in a crimson cloak. (That picture is also on view in “Sargent and Paris.”) “That’s one rumor I really want to debunk,” says Herdrich. “Both portraits are amazing and sensuous, but there is no concrete evidence to support that claim. In perpetuating that rumor—oftentimes the two portraits are purposefully hung near each other—there’s a tendency to denigrate Madame Gautreau. It also takes away from the accomplishments of someone who was a pioneering surgeon.” When Madame X was first created, the sitter considered it a masterpiece. “She was all in—however, both she and Sargent miscalculated how people in society would respond,” says Herdrich. In a letter to The Met’s director on the occasion of selling the work to the museum, Sargent called Madame X “the best thing I’ve done.”
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