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John Singer Sargent's William M 4 3 ("2*!- %0)* 0)&//"!/+/%" 0(/3+#/%" +(("$"+# -/.*! &"* ". +# )"-& **&1"-.&/3 &*-/&(0(#&(()"*/+# /%"",0&-")"*/.#+-/%" "$-""+# ./"-+# -/. * -/&./+-3 %&- &' (!"-% *!-""-.+*% "*+#/%" +(("$"+# -/.*! &"* ". April 28, 2021 /" )"-& **&1"-.&/3 .%&*$/+* © COPYRIGHT by Alexandra Schuman 2021 ALL RIGHTS RESERVED JOHN SINGER SARGENT’S WILLIAM M. CHASE, N.A.: MAKING A CASE FOR PORTRAIT PAINTING IN THE AGE OF PHOTOGRAPHY BY Alexandra Schuman ABSTRACT In 1902, students of William Merritt Chase commissioned John Singer Sargent to paint a portrait of their teacher that they intended to donate to the Metropolitan Museum of Art. In the portrait, Chase stares intently at the viewer with a palette and paintbrushes in hand, presumably pausing in the midst of painting to scrutinize his canvas. Despite this pause in his handiwork, his focused facial expression implies that his mind remains active. By depicting Chase engaged in the mental and perceptive work that precedes the physical handling of paint, Sargent asserted the importance of skilled, artistic observation and refuted critics who characterized both Sargent and Chase’s work as facile and superficial. At the time, portrait painting was under threat by the increasingly popular automated medium of photography, which provided faster and more accurate depictions of sitters. Sargent’s portrait of Chase emphasizes the importance of observation and discernment and asserts the value of the portrait painter against the rise of photography. The circumstances of this commission presented Sargent with the opportunity to take charge of his own narrative within the genre for which he was most known and in which he held the most professional stake. As a commission intended for the Metropolitan Museum, the preeminent institution for art in America, Chase’s portrait allowed Sargent to align with the museum’s implicit interest in connoisseurship and the value of original works of art. Within this context, by both picturing and fostering close looking, Sargent prompted viewers to consider the intellectual work involved in the portrait’s creation, thereby asserting the value of painting over photography. ii ACKNOWLEDGMENTS First and foremost, I would like to thank my advisor, Dr. Nika Elder, for her kindness, guidance, and patience during the course of this project. Her expertise and creativity have spurred my own curiosity and critical thinking in this field. Thank you to my committee member, Dr. Andrea Pearson, and Dr. Joanne Allen for their advice and encouragement. My wonderful professors in the Art History department have had an indelible effect on my life and career, and I am grateful for their expertise and wisdom. I am also appreciative grants from Carol Bird Ravenal and the College of Arts and Sciences that enabled me to visit the painting that is the topic of this study. Lastly, I would like to thank the people who got me through this process: Richard and my friends, for their confidence in me, and my family, who were always there when I needed them. iii TABLE OF CONTENTS ABSTRACT ................................................................................................................................... ii ACKNOWLEDGMENTS ............................................................................................................. iii LIST OF ILLUSTRATIONS .......................................................................................................... v INTRODUCTION ............................................................................................................... 1 CHAPTER 1 THE PAINTER’S GAZE IN AN AUTOMATED AGE ............................. 9 CHAPTER 2 FRAMING CLOSE LOOKING AT THE METROPOLITAN MUSEUM OF ART .................................................................................................... 24 CONCLUSION ................................................................................................................. 40 ILLUSTRATIONS ............................................................................................................ 41 BIBLIOGRAPHY ......................................................................................................................... 42 iv LIST OF ILLUSTRATIONS Figure 1: John Singer Sargent, William M. Chase, N.A., 1902. Oil on canvas ............................. 41 Figure 2: James Carroll Beckwith, Portrait of William Merritt Chase, 1881-1882. Oil on canvas ........................................................................................................................................... 41 Figure 3: Eugene Paul Ullman, Portrait of William Merritt Chase in his Studio, 1903. Oil on canvas ................................................................................................................................ 41 Figure 4: Augustus Saint-Gaudens, Portrait of William Merritt Chase, 1888. Bronze relief ....... 41 Figure 5: John Singer Sargent, In the Generalife, 1912. Watercolor, wax crayon, and graphite on white wove paper ............................................................................................................... 41 Figure 6: William Merritt Chase, The Inner Studio, Tenth Street, 1882. Oil on canvas ............... 41 v INTRODUCTION In 1902, Susan Bissell, secretary for the New York School of Art and Shinnecock Hills Summer School of Art, arranged for John Singer Sargent (1856-1925) to paint a portrait of her employer and former teacher, William Merritt Chase (1849-1916). These efforts were made, according to one reviewer who presumably quoted Bissell, “on account of his unceasing devotion to American students and American art.”1 Bissell and Kate Freeman Clark, another former student, collected small donations from Chase’s students from both schools, as well as from the Art Students League and those who took private lessons from Chase, to meet Sargent’s $1,000 fee – a considerable discount compared to his usual rate. Bissell planned the sitting at Sargent’s London studio for early summer of that year when Chase was scheduled to travel to England.2 Bissell’s correspondence suggests that from the start, the students planned to gift the work to the Metropolitan Museum of Art.3 It was a fairly common practice for artists to raise funds to acquire works by their late colleagues for the museum, but to have a portrait specially commissioned demonstrated distinctive admiration.4 In the finished full-length portrait (1902) (Fig. 1), a distinguished Chase scrutinizes the viewer, a paintbrush and palette in hand. According to Chase biographer Keith L. Bryant, the 1 “Mr. Sargent’s Portrait of Chase,” Century Illustrated Magazine 65 (May 1903): 801. 2 Keith L. Bryant, William Merritt Chase, a Genteel Bohemian (Columbia: University of Missouri Press, 1991), 183–84. 3 Doreen Bolger Burke, American Paintings in the Metropolitan Museum of Art, vol. 3 (New York: Metropolitan Museum of Art, 1980), 257–60. 4 Burke, 3:xvii. 1 students “heartily approved” of the finished work, and Chase stated his own pleasure as well.5 A few months later the painting was exhibited at M. Knoedler and Company galleries in New York, and subsequently in Philadelphia, Boston, Cincinnati, and Chicago. Funds from these shows allowed the students to finish paying Sargent’s fee. The portrait’s last stop was the 1904 World’s Fair in St. Louis before it was presented to the Metropolitan Museum of Art and officially accessioned in 1905. Critics published laudatory reviews of the portrait, praising Sargent’s technical handling and adept execution. One contemporary critic, Charles H. Caffin described it as “an impression vivid, composite and concise, the net product of a rarely acute and cultivated observation.”6 Picking Sargent to paint Chase is in some ways an obvious choice, for a twofold reason: Sargent was arguably the most famous American portraitist at the time, and Chase had repeatedly expressed his deep admiration for him.7 Historians such as Barbara Dayer Gallati and Robert Gates Bardin have traced this admiration to similarities in the artists’ approaches to posing and staging their subjects; both Chase and Sargent cultivated a portrait style that was part casual and part grand manner.8 To have a portrait done by a famous artist such as Sargent was a status symbol, especially since it would be housed within an institution founded by elite 5 Bryant, William Merritt Chase, 183–84; “Girls Get Sargent to Paint Chase: Portrait That Will Attract Much Attention When It Is First Exhibited Next Month,” New York Times, October 19, 1902: 25. 6 Charles H. Caffin, “John Singer Sargent, The Greatest Contemporary Portrait Painter,” World’s Work 7 (November 1903): 4115. 7 Frances Lauderbach, "Notes From Talks by William M. Chase: Summer Class, Carmel-By-the-Sea, California: Memoranda from a Student's Note Book," The American Magazine of Art 8, no. 11 (1917): 433. 8 Barbara Dayer Gallati, William Merritt Chase (New York: Harry N. Abrams in association with the National Museum of American Art, Smithsonian Institution, 1995) especially pp. 104-112; Robert Gates Bardin, “Posing as a Fine Art: William Merritt Chase’s Portrait Strategies” (Ph.D. Dissertation, Columbia University, 1997), 175–207. 2 members of New York society. By this time, Sargent had already completed portraits of cultural luminaries such as Claude Monet, Auguste Rodin, writer Robert Louis Stevenson, actress Ellen Terry, art collector Isabella Stewart Gardner, and many other artists, aristocrats, and socialites. Most scholars who address Sargent’s
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