[Editor's
Note -- the
following is a forum of Adam Sutcliffe's essay. When I correspond with
people I do so with the anticipation of making much of it public. It's
one of the most important things I do as an editor, and is one of the
most
important strengths, I feel, of this web site.]
[View Forum]
From: Adam
Sutcliffe
Adam.
Sutc
liffe@five.tv
Date: Monday, July
16, 2001
Natasha
I have just
completed a draft article
about SARGENT''s Dr Pozzi at Home suggesting this to be one of the most
blatant depictions of amorality in Western Art. In view of your web
discussion
about Sargent and sexuality I would be most interested in your
response.
. . forgive the extreme nature of some of the text. Thank-you.
Adam
Sutclifffe
From: Natasha
Date: Thursday,
July 19
Thanks for sending
your article.
I loved reading. It was very well written. I'm not exactly sure who the
intended audience is for this article, so I'm not sure exactly sure how
to respond to this. The parts that interested me the most were the
factual
information which you didn't source or footnote. Interesting, to say
the
least! If I might just add a helpful hint. If you plan on writing
something
that is ( for lack of a better word) "controversial" or "salacious", it
might help if you document where you are getting your information -- is
it Trevor Fairbrother?
If you choose to
contend that Sargent
himself wished to make Dr. Pozzi into a symbol of a clitoris with
phallic
images etc etc, it would fly in the face of anything else Sargent ever
painted. There are no other examples! None! Zippo! He clearly was NOT
into
symbolism -- not into any subtle type that you're talking about. In
fact
(with the exception of the Public murals) Sargent was from a school of
thought that flew in the face of Romantic symbolism. Like Monet it was
about what one sees with the eye. The "Art" was in life itself, "art
for
Art sake", and it didn't need to be added to. Sargent's art IS
penetrating,
telling and revealing of his subjects (this is true) BUT there is
nothing
there hidden that he deliberately painted with double entendres. What
he
gives us is the revealing nature of a person's spirit, their soul, and
is as much impossible to explain in words what Sargent has done to
capture
the essence, as it is to explain what you see when you look deeply into
a person's eyes
There is, of
course, the Boston
public library murals which are filled with symbolisms; but these
are
all matter-of-fact, "there you have it," "there it is" -- not hidden or
disguised. In fact, Sargent's biggest critic, Roger Fry, claimed that
he
painted nothing more than what he saw.
As to your
interpretation of the
painting: I LOVED IT, I enjoyed the read, but I don't agree
with
it. I strongly disagree with it. That's neither here nor there. As far
as I'm concerned, a painting takes on its own life -- beyond what the
artist
intended and therefore what you see in it (or anyone else for that
matter)
is as legitimate as my own opinion. That of course is its weakness,
it's
simply an opinion, but what makes interpretation so much fun and highly
personal. It's purely an individual thing.
I would teasingly
submit to you,
Adam, that if you find the painting to be the most blatant depiction of
amorality in Western Art, it's not to Sargent you should look, but to
yourself.
<wink>
Regards
Natasha
From: Adam Sutcliffe
Adam.
Sutc
liffe@five.tv
Date: Friday,
July 20,
2001
Dear Natasha
Thank-you so much
for your considered
response! From the way you write I would say you have the natural gifts
of an excellent teacher - and now you have me wondering what work
you do and how you came to create your web site.
I have rattled on
rather a lot in
this email - apologies. I promise I won't keep bombarding you - but
your
note has stimulated me to think and write a bit more...
The intended
audience is uncertain.
I felt compelled to set down some thoughts in my head - thoughts which
I thought had not been expressed in the same way might be of
interest
both to the casual art gallery visitor and maybe even to the academic
as
well. Like you I feel that particular viewpoints should be expressed -
I was stimulated, perhaps above all, by the thought of whether I was
alone
in seeing something disturbing and very sexual in "Dr Pozzi at Home".
By the way I'm not
even convinced
I see it (ie something disturbing and very sexual) either! To me its
more
of a possible interpretation that I wanted to set down to see if it was
"sustainable" in argument. I think it is - although, at the end of the
day, I am not wholly convinced by the argument I put forward. No - I
certainly
do not think the portrait to be one of the most blatant depictions of
amorality
in Western Art - that was mere "advertising puff" to try and provoke
interest.
Neither do I think there was conscious symbolism on the part of Sargent
... but (......I'll come back to this later!!).
I'm afraid I don't
know who Trevor
Fairbrother is or what he has written - please can you fill me in. My
sources
are only secondary and not fully authenticated. The basic
information
about Pozzi comes from a catalogue for the major SARGENT exhibition at
the Tate in 1998 (when I saw the work) edited by Elaine Kilmurray and
Richard
Ormond - but then they acknowledge about 40 "Sargent scholars" as
contributors
and the text accompanying Dr Pozzi is not footnoted. More information
on
Pozzi came from "Interpreting Sargent" by Elizabeth Prettejohn
which
was published by the Tate at the same time.
I trawled the
internet for more information
and came across a few biographical references to Pozzi. Most
interestingly
I came across references to a three volume "treatise" he wrote on
gynaecology
and to instances of modern gynecological experts making occasional
reference
back to Pozzi's techniques. As someone grossly ignorant on the subject
I wanted to know whether "bi-manual" examination was something regarded
as so unorthodox as to be perverse. This would have fitted my line of
thought
- but from what I read I could not be certain. Bi-manual treatment is
still
taught where one hand applies pressure from outside the body (eg to
stop
haemoragging) but Pozzi's technique was used for overine examination. I
had to conclude that I could not justify alleging any sexual
impropriety
from this technique alone (although I was able to establish he would
not
have used gloves). The evidence suggests that Pozzi was indeed
highly
regarded in his field - he was a teaching professor. Interestingly he
also
advocated liberal application of cocaine in the treatment of some
gynaecological disorders - again one could present this in a
"salacious"
way but since cocaine was not uncommonly used as a form of pain
reliever
in the late 19th century I think it would be wrong to bring in any
moral
judgment in this regard. I was left concluding that the "allure
of
Pozzi" and the "frisson" added to his love affairs by the fact of his
profession
combined with his "diabolically" good looks (all referred to by
other
writers) was about as far as I could go in suggesting "perversion" on
Dr
Pozzi's part.
He actually seems
to have been a
talented and cultured man. One book (the catalogue) makes tantalizing
references
to accounts of his group "The League of the Rose" being "decadent" and
linking this to his readiness to give demonstrations of his bi-manual
techniques.
After searching on the web I could not come up with any sources
or
more information on this - my reference to the name of the group being
a "clear acknowledgment of the clittoris" is, I regret to admit,
speculation on my part. (Though not entirely without precedent - an
erotic
novel of the age attributed to Oscar Wilde ("Teleny") uses repeated
"rose/clittoris"
similes). Dr Pozzi's group COULD have been a group for keen gardeners
...
but instinct says otherwise.
As you can see if I
were to submit
my article for publication I would have to do quite a lot of further
research
- but I suspect much of the framework would hold up. Certainly I am
quite
proud of my thoughts on the "Dorian Gray" connection. I have never read
any speculation of what works of art Wilde may have had in mind
when
writing Dorian Gray - no doubt they exist. I wonder whether Dr Pozzi
has
been put forward before. Certainly the idea is original to me - but it
may also have occurred independently to others. What I was pleased to
discover
was that (a) Pozzi was first exhibited in London; (b) Sargent moved to
London shortly thereafter; (c) Pozzi was not sold of or disposed by
Sargent
at that time - logically it would have been a this home/studio; (d)
Wilde
was writing articles in the London press about current art movements
and
had established himself as a fountain of opinion on art; (e) by May
1884
Sargent was sufficiently close to Wilde to be one of a limited
number
of guests at his wedding to Constance Lloyd. (e) I discovered almost by
accident - going through Wilde biography sites on the net and
seeing
a reference to wedding guests.
Then I looked
through DORIAN GRAY
again. The picture is a "realistic" portrait - full length - by the
greatest
society portrait painter of the day - the work is instantly
acknowledged
as one of the most important paintings of the age........ and then of
course
there is the convoluted moral story and the links between the subject's
morality and his representation on canvass....
It all seemed too
deliciously right
- so long as one can see Pozzi as a sort of hedonistic vain arrogant
young
man who is prepared to guard his beauty at all costs. It is not a
HUGE leap to make. Pozzi in reality was probably more cultured and
"valuable"
as a person than that - but the gossip-borne reputation of Pozzi
may have come pretty close. And now we know that Wilde must surely have
seen (and probably admired!) the Pozzi portrait at the home of his
friend,
John Singer Sargent, during a period when "The Picture of Dorian Gray"
was forming in his mind... There may be other, better candidates
for pictures that may have inspired "Dorian Gray" - but I think Dr
Pozzi
goes a long way and is very interesting on that basis alone.
Finally I would
like to come back
to that "but" I left hanging several paragraphs ago. I said that I
agreed
that Sargent was not into conscious symbolism .. but - :
but in every
Sargent portrait there
are a thousand "design" elements. By this I mean elements that have
involved
an element of choice, intention, or "feel" on the part of the
artist.
The way fingers are held - for example - I cannot accept that the
fingers
just lay as they were naturally and Sargent merely "painted what he
saw".
No - the power of his portraits and the insights provided by them comes
from the way in which elements are presented to the viewer by Sargent.
I referred in the article to "the exposure of flesh and musculature,
the
weight and significance of apparently unremarkable pieces of furniture
or jewellery - there is a purpose and significance in everything
included - and even in the very omissions from what appears on the
canvass.
A shoulder strap - a coat the carvings on the almost hidden leg
of
a table - nothing was incidental". These various elements refer to
different
pictures I saw in London (Madame X for the shoulder strap (especially
as originally painted!) and the carvings on the side table next to
her - and her musculature; the portrait of W
Graham Robertson re the coat (Sargent apparently protesting that
the
coat WAS the picture when Robertson wanted to take it
off
because of the heat!); but there are many more I could have cited - the
extraordinary compositions of "The
Daughters of Edward Darley Boit" and "Edouard
and Marie-Louise Pailleron" (over 20 sittings!); the care he
lavished
on "Carnation,
Lily, Lily, Rose" - the haunting eyes and look of Miss
Elsie Palmer; etc etc
I was frustrated to
read Anthony
Bertram quoted in the Oxford Companion to Art as saying "All that was
wrong
with Sargent was that he gave his sitters no soul and his pictures no
pictoral
meaning". Was he looking at the same pictures as I??!!!! Do our eyes
operate
differently?? How can you try and justify something that jumps
out
as being so patently wrong to my eyes??!!
Anyway - all I'm
trying to say is
how much, in my view, went into a Sargent picture. That must have
included
many consciously chosen elements - but also many many elements that
Sargent's
judgement and "feel" dictated. And I would argue that many of these
"feel"
elements might have sprung from sub-concious thoughts or feeling about
the subject of the portrait.
Can't we divine
something of what
Sargent thought of Dr Pozzi from the way he is portrayed? Surely the
answer
is yes. Why is the picture THAT colour? Was this deliberate or
sub-conscious
symbolism? I do not accept that he turned up and found Pozzi in a red
gown
in a red room!!!!!! And it is SUCH a red - not a full natural red - but
a glowing, alive, alluring red. If there was no conscious
flesh-pleasure-allure-alive
symbollism intended then I defy you to insist that there was no
sub-conscious
sybollism at work here! I am sure there are other elements of
sub-conscious
symbollism at work too - the angle of the light - the glow as if from a
fire - the angle from which we look up to Pozzi - the very
dimensions
and size of the portrait - again and again there are "design" elements
with inescapable elements of symbolism attached - whether
intended
or not.
My own view is that
Sargent was attracted
to Pozzi - not necessarily (although possibly) in a sexual way - in a
way
which suggests he thought of Pozzi as belonging to a different or
higher
breed of men. But at the same time what is he saying with this colour
....
it is shouting a message (whether from Sargent's conscious or
sub-conscious
I cannot tell) to us - but I can't understand it.
Maybe Oscar Wilde
would have been
tuned in to the message the colour was shouting. in Dorian Gray he
wrote:
(I've lost my quote: its something like "The only colour nowadays in
art
... is sin")
Thank-you Natasha
for reading this
far. Are you still so adamant that there is no symbollism in Sargent's
portraits? Did Pozzi just turn up on a very red day??!!!!! I would love
to hear back from you.
BTW I'm off to
China tomorrow so
apologies if you don't hear anything back from me for a while.
Regards
ADAM
(I'm an intellectual
property lawyer
by the way)
From: Natasha
Date: (much too
delayed)
Dear Adam,
What you have
written is very remarkable.
In fact, if you will allow me to back off a bit from my original
statement,
I think you will find that we are not far from total agreement -- or is
it that your eloquent and razor sharp mind has just turned my
opinion?
<wink>
In fact, you have
written it so well,
that I'm not sure that it even needs a response from me, though I do it
because you've requested my thoughts -- I just think sometimes: what
possibly
could I add, and are my additive thoughts always necessary?
As far as I know,
you are the very
first person to attribute Oscar Wilde's "Dorian Gray" to Sargent's Dr.
Pozzi. I Love it! You should in deed be proud! That's an amazing
observation
at the very least it is a delicious possibility with some
wonderful
circumstantial evidence. Without a doubt -- in my mind (and now that we
can all look back with 20/20 hindsight, thanks to you) how can we not
think
of Dorian Gray and Pozzi almost in the same breath. That's what is so
much
fun about all of this. It is also what I was talking about in my first
letter when I wanted you to footnote and source were you were getting
all
this from. In fact, if you ever revisit this essay again for some other
publication, I would encourage you to mesh both your article and your
subsequent
letter together into one, the two together leads to a very strong piece
of work.
The reason why I
asked about Trevor
Fairbrother, is that he, if my memory serves me correctly made a point
of connecting Oscar Wilde to Sargent for support to his assertion that
Sargent was gay, and he underlined Wilde's persecution for his
sexuality
(when he went to jail for immorality) was the reason for Sargent's own
continued closeted nature -- in his opinion. He also, again if I
remember
right (I wish I could tell you exactly where I read this) made the
point
that Sargent was attracted personally to Pozzi -- so that is why I
mentioned
his name, but I don't think that he went as far as to say that in
Wilde's
case, the character Dorian Gray was influenced if not outright based on
Pozzi. That my friend, is your find and it is a gold nugget to be
sure!!!
You are so correct,
of course, everything
Sargent did from the choice of clothes, the setting, the supporting
furniture,
the posture, everything is a deliberate image that Sargent wanted to
express.
I don't think either that he just happened one day to find Pozzi in a
red
robe on the day he painted him. No, this was clearly intentional on
Sargent's
part -- no question about it. The red is very much a statement by the
artist
-- now the argument is: what statement exactly was he making?. And it
is
here that personal interpretation comes in, but these are just opinions
on our part. What I meant in my first letter, is that I don't think
Sargent
sat down with his brush in the bedroom of his subject, adjusted his
vantage,
and began to paint with a cognitive idea of forming Pozzi's robe into
the
folds of a woman's labia, or clitoris, that the man himself was to
become
his own ideal for a phallic image; nor that his tassels from the robe
were
to hang as a metaphor for the man's testicles. It is THESE sort of
symbolic
subtle double meanings that don't have precedence in any of Sargent's
other
work. You are on much stronger ground, in my opinion, if you leave
those
sort of ideas towards the realm of speculation of Sargent's
subconscious,
as I sort of did in my piece on Daughters
of Edward Darley Boit and as you later did in your subsequent
letter
-- your case immediately became much stronger, in my opinion.
But I want to
qualify these comments
by me as being my own opinions, I encourage apposing views. I don't
have
a monopoly on what is correct, and quite frankly seeing differing
opinions
make for more interesting reading, since it makes all of us work to
support
our positions and vice versa. (I say this more for the readers of this
conversation than to you -- don't back down too quickly from your
thoughts.
Give my opinions no more, or no less than anyone else and make what I
say
stand on the merits)
I mentioned Roger
Fry and you mentioned
Anthony Bertram and both stated (essentially) that Sargent only painted
what he saw. I mentioned Fry in my first letter only to point out what
the criticism of Sargent was -- though misunderstood in my
opinion.
I don't agree with Fry nor Bertram either. What I meant by my point is
that when he did eventually sit down with his wondrous Dr. Pozzi, the
grown,
the drapes, the room, I really do think that it did in fact actually
exist
-- they were not contrivances towards an end. In other words, I don't
think
that Sargent went into a blue room and intentionally painted it red.
What
I think happened is that after Sargent had investigated Pozzi's home
for
ideas of where and how to pose the man, that he struck upon the
profound
irony of the vain man's bedroom and adamantly insisted that he be
painted
in THAT room and with THAT robe in THAT way.
Whether
Sargent went out and bought a red robe for him or it was Pozzi's own, I
don't know, and I personally like to think that is was Pozzi's, but I
do
know that he had personally chosen the garments for others. And maybe
he
tweaked the color, but I tend to think that he didn't, and if anything
might have gone to great lengths to adjust the lighting in the room to
deliver the "glowing, alive, alluring red" he wanted, such as he had
done
with "Carnation,
Lily, Lily, Rose" -- but maybe to a lesser extent. In this sense,
Sargent
only painted what he saw, but what he saw and what he painted speaks
volumes
in a very deliberate way. So we very much agree.
I don't know about
the hands. It
really makes me wonder but I would submit to you a letter a patron who
wrote on this very subject in 1902 (see
letter). And in that case, he seemed to paint indeed only what he
saw.
But again, the virtuoso of Sargent was in knowing WHERE to
freeze
the pose at the most opportune moment. The particular posture of
Pozzi's
hands, was it deliberate? You bet it was, but again it wasn't contrived
from his mind alone. Sargent painted what he saw. Pozzi probably did
actually
hold his hands in that way . . . at some point in time. The question
is,
why did Sargent pick that particular pose, and there we get into the
wonderful
and delightful teasing realm of interpretation. What does it mean?
So if you see what
I'm driving at:
I'm not necessarily disagreeing with you about Sargent's overall
conscious
or unconscious idea about this painting, only in the means by which he
got there. In other words, I think you are right-on in the speculation
of Sargent's intent.
Pozzi was painted
in France, but
he didn't exhibit it there, as you pointed out. He exhibited it in
London
in 1882. The obvious question is why London and not Paris? Well, if we
look to see what he did show in Paris (see
Road to Madame X) he had already settled upon the Lady with the
Rose
as being his portrait submission along with El Jaleo. The British were
stunned by this bold painting at the Royal Academy. Fairbrother
colorfully
states that it "encountered chilly silence in the British press" (p.40,
John Singer Sargent, 1994). Vernon Lee, when she
saw
it loved what John had done and wrote to her mother about his
picture
"more or less kicking other people's pictures into bits." I laughed
when
I read that (see
letter), and can't you just envision it? Vernon Lee's description
must
have been perfect at describing the power of what Sargent had been able
to capture. I wonder if he intuitively understood that such a painting,
of such a personage, with such a reputation would illicit a bloody riot
at the Salon. Just imagine the scandal of Madame
X thirty fold. And for the fun of it, imagine the pure delight of
Sargent
at seeing both paintings together in his studio (See
Bert's Essay on the Retrospective). The man clearly had a
remarkable
sense of humor, and the two of them together must have been (for him)
an
amusing collection of exotic creatures.
But the British
didn't like it, on
the whole (I know not what Wilde's first thoughts were. Wouldn't it be
fun if we could find out?) but besides the sheer power of it, it was
just
too "French" (Impressionistic) for most, and we already know what
London
thought of Whistler in these studies of chromatic colors (see
Nocturne in Black and Gold The Falling Rocket).
But I want to close
by getting back
to Dorian Gray and Wilde, you are on to something big here and I love
it.
Even if it would turn out to not be the case, it still works
metaphorically.
It is all deliciously right, as you say, and what you have written
(along
with your letter that fills it out) is simply wonderful -- every
bit of it. Thank you so much for sharing this with me and for letting
me
share it with others. It was beautifully written and just a joy to read.
Heartfully felt
Natasha Wallace
(Editor's Note -- the discussion
continues “Dorian
Gray” by Oscar Wilde reference)
Notes:
By: Natasha
Wallace
Copyright 1998-2006 all rights reserved
Updated 1/7/2006
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