Jeannette Cooperman APRIL 23, 2023
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[italic]“With her striking profile, fashionable pallor, and exquisite figure, Amelie Gautreau circulated on the more daring fringes of Paris society—her hair and eyebrows henna-russet, her skin moon-glow pale,” Paul Fisher writes in a new biography, The Grand Affair: John Singer Sargent in His World. She was an acknowledged beauty—yet Fisher brings up a puzzling resemblance between her painted profile and that of Sargent’s close friend Albert de Belleroche.
Sargent spent a lot of time with de Belleroche in the two years he was struggling to capture Gautreau. And in Madame Gautreau Drinking a Toast, a small, intimate portrait he made a year before Madame X, her features are identical to those of de Belleroche in Head of a Young Man in Profile.
Did the two, in weird coincidence, resemble one another? Was Sargent so captivated by de Belleroche and so fed up with Gautreau that he superimposed the man’s features on hers? Or was he so consumed by his work on the larger portrait that he painted Gautreau everywhere? Unable to compare photographs, I study other paintings of de Belleroche, then look again at Madame X. The same slanted forehead; strong nose; sharp chin; and chiseled lips with a heavier upper lip, the lower drawn back. Sensual, forceful, desirous, contemptuous. Maybe Sargent exaggerated the features of both, painting traits instead of slavish likenesses.
In any case, the puzzle’s early nod to gender fluidity is appropriate. Sargent was drawn to bold, rule-breaking women, to bohemians, to cultural difference and gender nonconformity. And in his own life, he—well, who knows? Fisher’s main ambition for his otherwise beautiful biography seems to be chasing down every possible indication of homosexuality—not in judgment, but for the scholarly fun of revealing an old secret. He is too honest a researcher to ever suggest he has found definitive proof, so on we go, with gossip dangled and snatched away on every page.