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At 28,Sargent had already proved himself a darling of the Parisian critics, and he had high hopes for the success of this portrait. His master, Carolus-Duran, assured him that he could submit it to the Salon with confidence. The Salon of 1884 accepted it, but by then Sargent was already beginning to have some misgivings about how it might be received. These misgivings were far surpassed by the uproar that the painting provoked. As Evan Charteris, Sargent’s friend and early biographer, coyly records, “the public took upon themselves to inveigh against the flagrant insufficiency… of the sitter’s clothing.” It is difficult for us to imagine the scandal that ensued, especially considering the institutionalized double standards and louche atmosphere of Parisian Troisième République society. Virginie Gautreau was well established in the tabloids of her day as a woman of dubious morality. To know all this, apparently, was one thing, but to have her wanton sensuality captured on canvas with such dashing felicity for all the fashionable world to see was a different matter altogether. Fashionable women mocked Sargent’s accurate rendition of his subject’s prodigal use of cosmetics, and the art critics were merciless in their facetious observations. Le Figaro’s Albert Woolf quipped apropos her fallen shoulder strap, “one more struggle and the lady will be free.” Alas, Sargent thought better of his initial depiction and later painted out this fallen strap, returning it to its rightful place.Officials Star Trak X Lord Wikkin Logo Shirt
Virginie Gautreau realized too late how compromised she was by Sargent’s flamboyant portrayal. After a solemn lunch at Ledoyen with the artist, Ralph Curtis found himself back at Sargent’s studio on the boulevard Berthier, fending off Mmes Gautreau and de Ternani Avegno, who descended on him “bathed in tears.” Mme de Ternant Avegno returned later, cornered Sargent “and made a fearful scene,” begging him to remove the “lewd portrait” from the Salon and declaring that her daughter “was lost. All of Paris is making fun of her … she will die of shame.” Sargent refused to remove the work, claiming that this would have been against Salon rules; however, he was careful to take it himself before the exhibition closed, fearful that the furious Gautreau camp would destroy it were they ever to take possession of it.
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