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Crushed by the weight of criticism, Sargent aborted his plans to conquer the Parisian art world and more or less fled to London, where he eventually established himself in Whistler’s old studio on Tite Street. His work from that period, suffused with impressionistic light effects and a sense of bucolic English countryside, was as different as possible from the hothouse air that the orchidaceous Mme Gautreau breathed. And although it would take him some time to win the confidence of conservative British portrait sitters, wary of his piercing depiction of Mme Gautreau, by the end of the century his bravura portraits had become affirmations of position for British aristocrats and status symbols for worldly Americans and the stylish nouveau riche.Officials Sam Tripoli Los Angeles Dodgers I Get My News From Sam Tripoli Shirt
The 1884 Salon episode seems not to have soured the resilient Mme Gautreau too much, seven years later she was sitting for a portrait by the highly considered but lackluster academician Gustave Courtois. Lacking the flattering élan of Sargent, Courtois’s documentary approach reveals a coarsened beauty, her eyebrows crudely penciled over, her skin still paley powdered, her ears pink. The headstrong Virginie Gautreau had evidently not learned her lessons well; in a sly allusion to the Sargent debacle, Courtois painted one strap of her pale goddess-like dress fallen from her plump, livid shoulder. And as a counterpoint, her triple-row pearl bracelet falls negligently over a hand that grasps at an airy tulle stole. Perhaps it was this moment in her life that prompted this acidic couplet from the dandy Robert de Montesquiou:
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