Exhibition reunites John Singer Sargent’s portraits with historic fashion garments worn in the paint

(20 Feb 2024)
UK ARTIST AND FASHION
SOURCE: ASSOCIATED PRESS
RESTRICTION SUMMARY :
LENGTH : 6:32
ASSOCIATED PRESS
London, United Kingdom - 20 February 2024
1. Wide of exhibition with Madame X painting
2. Tilt up of Madame X, 1883-4 by Sargent
3. Various of painting of Ellen Terry as Lady Macbeth 1889 by Sargent
4. Wide of model being photographed by painting
5. Pull focus from model to painting
6. Various set up shots of Erica Hirshler
7. SOUNDBITE: (English) Erica Hirshler, senior curator of American paintings, Museum of Fine Arts Boston
"I think Sargent was particularly modern in the way he controlled his subjects. Almost like a stylist today would guide somebody to make the right fashion choices for the image. So the image, the painting, the finished performance, that's important to Sargent. And I think his way of styling his sitters, which is more often to abbreviate than to add, is really quite a modern choice."
8. Wide of the Countess of Rocksavage 1922 by Sargent with dress
9. Close pan left of lace
10. Tilt up of dress worn for La Carmencita 1890 by Sargent
11. Tilt up of painting La Carmencita 1890 by Sargent
12. Various of Madame Ramon Subercaseaux 1880-1 by Sargent
13. SOUNDBITE: (English) Erica Hirshler, senior curator of American paintings, Museum of Fine Arts Boston
"Well, one of Sargent's most masterful things is his ability to capture texture and surface in paint, and he translates these luxurious fabrics of the period into surfaces that we can really tell whether it's a velvet or a satin. The sheen or the softness of it is rendered particularly beautifully in Sargent's paint."
14. Various set up shots of James Finch looking at Dr Pozzi at Home 1881 by Sargent
15. SOUNDBITE: (English) James Finch, assistant curator, 19th Century British Art, Tate Britain
"It's one thing that we're very interested in this exhibition is the way that Sargent used clothing and fashion choices as a means of exploring gender identity and indeed challenging conventions around gender presentation during the 19th Century."
16. Various details of Dr Pozzi at Home
17. SOUNDBITE: (English) James Finch, assistant curator, 19th Century British Art, Tate Britain
"Samuel Pozzi, a prominent French surgeon, is depicted not in his smart, tailored suit in his public presentation, but he is, as the title says, painted at home wearing this bright red nightgown effectively. And you can see his slippers poking out from underneath the robe. And so I think it's important to emphasize just how unusual and even radical a gesture this was in the 1880s and how much by painting a prominent man in the domestic sphere in this informal clothing Sargent was very much challenging the ideas about how men were presented in a public guise. And this I think that's certainly something even sensuous around not just the way that the fabric is painted and the way the light falls on it. But if you look at Pozzi's hands, both of his hands are kind of intertwined with the tassels and lining of his robe. And so there's something very sensual. It's as if Pozzi is himself exploring the robe that he is wearing and in a way that is extremely tactile and yes, indeed, possibly even homoerotic."
18. Various set up shots of Tabish Khan
19. SOUNDBITE: (English) Tabish Khan, art critic
20. Close pans left on Mrs Carl Meyer and her Children 1896 by Sargent
21. Mid zoom to The Honourable Pauline Astor 1898-9 by Sargent
22. Tilt up of Almina Wertheimer 1908 by Sargent
23. Pull focus of same
24. Wide exterior of the Tate Britain
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