Related works by artist:

Rosina:

Madame Gautreau wasn't the first celebrated beauty that John Singer Sargent had painted. His portraits of model Rosina Ferrera also depict a beautiful woman who is both part of - and stands away from - the abstract backgrounds.



Rosina Ferrera was a popular model for artists in Capri and Sargent was introduced to her by fellow artist and friend Frank Hyde. The contorted pose of Rosina brings Madame X to mind as does the low cut dress and dramatic use of color in Dan Les Oliviers a Capri. Sargent completed many works featuring Rosina during his time in Capri in 1878.



Mr and Mrs I. N. Phelps Stokes:

Like Madame X, Mr and Mrs I. N. Phelps Stokes celebrates modern womanhood, albeit in a different fashion. This was the first portrait of a woman in street clothes, rather than an evening gown. She looks in control of her own destiny and exuberant. This is quite different from the typical portrait of a woman made to look dainty in evening clothes.



In the portrait, Mrs. Stokes dresses for no one but herself. Most revolutionary of all is the placement of the husband. Shattering gender roles, Mr. Phelps is used as a prop in the background. The practical reason behind this is that the dog Sargent was going to use was no longer unavailable and the husband volunteered to take its place. However, both artist and sitters must have been all too aware of the potent symbolism behind the placement.



Different Takes on Madame X:

Madame Gautreau, Gustave Courtois (1853-1923):

This painting features Madame Gautreau in profile, in the same style of dress, with the strap hanging. She is showing a little more skin and is facing left instead of right. This time the painting was well-received by the public. However, Madame Gautreau's joyous rather than haughty expression and her mature age do not give off the sensuality of the original, despite the fact that she is baring more flesh. A color copy has not been preserved which makes the portrait harder to analyze - although Madame Gautreau does look purer because of the lighter color of the dress. However, the reserve, self-importance and outright sexuality of Madame X have been lost.



Madame Pierre Gautreau, Antonio de la Gandara (1861-1917):

Antonio de la Gandara did not do a literal take on Madame X, as Courtois had done. Madame Gautreau is facing away from the viewer and her exposed back is tantalizing. Unlike Courtois, her dress interacts with the background. Gandara uses the flame, much as Sargent used the table, to interact with the dress. The flames spark and subtle red highlighting preserve the sensual spark of the original painting, although Gandara did not play with the coloring of Madame Gautreaus' skin the way Sargent did. Once again, the painting was well-received by the public.