Sargent’s Unconventional Portrait on Display: John Singer Sargent’s remarkable portrait of Ena Wertheimer, a testament to their friendship and his artistic boldness, is currently featured in the ‘Fashioned by Sargent’ exhibition at the Museum of Fine Arts in Boston. The portrait, completed in 1905, captures Wertheimer in an unconventional Cavalier fancy dress, complete with a plumed hat, challenging the era’s gender norms.
A Dynamic Representation: This vibrant portrait, Italian-named “A Vele Gonfie” (meaning “with full sails” or “with gusto”), portrays Wertheimer in mid-action, a departure from traditional, static poses. She appears turning, smiling over her shoulder, with a cloak-like fabric in her gloved hand, and a broomstick mimicking a ceremonial sword, adding to the portrait’s dynamic and playful nature.
A Unique Marriage Portrait: Commissioned by Ena’s father, Asher Wertheimer, a British art dealer of German-Jewish origin, on the occasion of her marriage, this portrayal was a significant deviation from the standard marital portraits of the time, particularly for a woman.
Challenging Societal Norms: Ena, portrayed in attire typically reserved for male members of the British monarchy’s Order of the Garter, represented a bold statement in an era where such sartorial choices were not just unconventional but almost unheard of for women, especially in formal settings.
Sargent’s Affinity for Independent Women: An American expatriate, Sargent gravitated towards individuals who, like himself, felt somewhat outside the mainstream of British society. His preference for strong, independent women is evident in this portrait, with Ena Wertheimer epitomizing the kind of sitter that intrigued him.
Ena Wertheimer’s Distinctiveness: Wertheimer, an art student and later an art dealer herself, was known for her outgoing, fun-loving, and non-conformist nature. Her height and cosmopolitan demeanor further set her apart, making her an ideal subject for Sargent’s unconventional artistic vision.
Mixed Critical Reception: When exhibited at the Royal Academy in 1905, the portrait received mixed reviews. While praised for its expressive animation, some critics, possibly influenced by antisemitic and classist biases, viewed Wertheimer’s portrayal as overly bold and unrefined.
Addressing Antisemitism and Classism: The critical reception reflected broader societal prejudices of the time, with antisemitic undertones and snobbery towards new wealth. Wertheimer’s family background and her unfamiliarity with aristocratic codes of behavior likely contributed to the mixed reactions.