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Lot Essay
John Singer Sargent was undoubtedly one of the most significant formal portraitists of the fin-de-siècle glitterati, both in America and abroad. The artist's depictions of his close friends, such as Portrait of Mrs. Frank Millet, communicate not only the inner life of the sitter, but Sargent's fondness for his subjects as well.
The present work depicts Lily Millet (formerly Elizabeth Merrill), friend of Sargent and wife of fellow artists Frank Millet. A close friend of the couple, Sargent painted the family and their home on numerous occasions, and their daughter Kate even modeled for Sargent's iconic Carnation, Lily, Lily, Rose (Tate Britain, London). The Millets lived in the Cotswold village of Broadway, where their home served as a cultural center in the late 19th century.
Mrs. Frank Millet is an arresting portrayal of a woman deeply admired by the artist, and this comfort is expressed in her casual pose and direct gaze toward the viewer. The sitter is placed before a nondescript background, furthering the sense of intimacy, as if she posed in a close, quiet setting, such as her own home. Further, the energetic brushwork—while characteristic of Sargent's later œuvre—also seems to communicate a spontaneity that is supported by contemporary accounts. Frank Millet's sister, Lucia wrote: 'Mr. S. is painting a portrait of Lily but...he is smudging it out every day before he begins to work...He is sure to make a pretty picture of it.' (quoted in R. Ormond & E. Kilmurray, John Singer Sargent, The Early Portraits, vol. I, New Haven, 1998, p. 170). Indeed, it is likely that Sargent painted the present work over the course of 1885 and 1886, reworking the composition until he was satisfied with his friend's likeness. The result is a striking and tender depiction of a woman whom he loved dearly.
The present work depicts Lily Millet (formerly Elizabeth Merrill), friend of Sargent and wife of fellow artists Frank Millet. A close friend of the couple, Sargent painted the family and their home on numerous occasions, and their daughter Kate even modeled for Sargent's iconic Carnation, Lily, Lily, Rose (Tate Britain, London). The Millets lived in the Cotswold village of Broadway, where their home served as a cultural center in the late 19th century.
Mrs. Frank Millet is an arresting portrayal of a woman deeply admired by the artist, and this comfort is expressed in her casual pose and direct gaze toward the viewer. The sitter is placed before a nondescript background, furthering the sense of intimacy, as if she posed in a close, quiet setting, such as her own home. Further, the energetic brushwork—while characteristic of Sargent's later œuvre—also seems to communicate a spontaneity that is supported by contemporary accounts. Frank Millet's sister, Lucia wrote: 'Mr. S. is painting a portrait of Lily but...he is smudging it out every day before he begins to work...He is sure to make a pretty picture of it.' (quoted in R. Ormond & E. Kilmurray, John Singer Sargent, The Early Portraits, vol. I, New Haven, 1998, p. 170). Indeed, it is likely that Sargent painted the present work over the course of 1885 and 1886, reworking the composition until he was satisfied with his friend's likeness. The result is a striking and tender depiction of a woman whom he loved dearly.