John Singer Sargent (American, 1856-1925). Portrait of Henri Lefort, 1882. Oil on canvas. 23-1/4 x 17 inches (59.1 x 43....

Description

John Singer Sargent (American, 1856-1925)
Portrait of Henri Lefort, 1882
Oil on canvas
23-1/4 x 17 inches (59.1 x 43.2 cm)
Signed upper left: [...] S. Sargent

PROVENANCE:
The artist to the sitter, Paris;
P. Foinet, Paris;
M. Knoedler & Co. New York, by 1933;
Edwin D. Levinson, New York;
John Levy Galleries, New York, circa 1938;
Schneider-Gabriel Galleries, New York;
The Saint Louis Art Museum, St. Louis, Missouri, 1939 (42.39);
Peter Larson, Scottsdale, Arizona, acquired from the above upon the painting's deaccession, 1997;
Adelson Galleries, New York, acquired from the above, 2021.

EXHIBITED:
Milch Galleries, New York, "Important Exhibition of 19th and 29th Century Painters," February 3-29, 1936, no. 15;
The Corcoran Gallery of Art, Washington D.C. (and elsewhere), "The Private World of John Singer Sargent," April 1964-January 1965 no. 23;
St. Louis Art Museum, St. Louis, Missouri, "The 19th Century: Changing Styles/Changing Attitudes," August 16-October 21, 1973.

LITERATURE:
"Henri Lefort by John Singer Sargent." Coronet, June 1938, p. 62, illustrated;
"Art Throughout America," Art News, 1939;
"Bulletin of the City Art Museum of St. Louis XXIV," St. Louis Bulletin, July 1939;
C.M. Mount, John Singer Sargent, A Biography, New York, 1955, p. 429, no. 834;
D. McKibbin, Sargent's Boston, Boston, Massachusetts, 1956, p. 105;
C.M. Mount, John Singer Sargent, A Biography, London, 1957, p. 338, no. 834;
C.M. Mount, John Singer Sargent, A Biography, New York, 1969, p. 444, no. 834, illustrated between pp. 144-5;
R. Ormond, "John Singer Sargent: Paintings, Drawings, Watercolors," London, 1970, pp. 20, 240, pl. 29, illustrated;
W. Adelson, John Singer Sargent: His Own Work, Coe Kerr Gallery, exhibition catalogue checklist, New York, 1980;
R. Ormond, E. Kilmurray, John Singer Sargent, Complete Paintings, Volume 1: The Early Portraits, London, 1998, pp. 96-7, no. 94, illustrated.

The early 1880s represent a defining period in John Singer Sargent's career, often referred to as his "do no wrong" phase. During these years, Sargent's portraits reached an extraordinary level of technical brilliance and creative mastery, marking his ability to not only capture physical likeness but also to reveal the inner essence of his sitters. His portraits from this era are celebrated for their precision, dynamic sense of life, and exquisite handling of light and shadow. Balancing realism with impressionistic vitality, Sargent's mastery of texture-whether in the shimmer of fabric, the softness of skin, or the gleam of jewelry-paired with his psychological insight, allowed him to convey both the individuality and status of his subjects with immediacy. Iconic works like Portrait of Madame X (1884, The Metropolitan Museum of Art, New York) exemplify the height of portraiture during this period and showcase Sargent's unparalleled artistic excellence.

Henri-Émile Lefort, a French etcher and fellow artist, became acquainted with Sargent while both worked in Paris. Lefort, an accomplished engraver who studied under Léopold Flameng, had an illustrious career, publishing works after paintings by Tintoretto and engraving pieces by Holbein and Rembrandt. He exhibited at the Salon and earned several accolades, including a gravure award in 1881 for his portrait of George Washington, the same year Sargent was awarded a second-class medal for his portrait of Madame Ramon Subercaseaux. Lefort's prominence earned him a place on the jury of engravers, and he was honored as a Chevalier of the Légion d'honneur.

Portrait of Henri Lefort stands out as a quieter, more refined study compared to some of the artist's bolder, bravura sketches from the early 1880s. The portrait retains the richness of brushwork and intensity of tonal values that define Sargent's finest work during this period. The inclusion of subtle background elements, such as the corner of a mirror and a fireplace, gently suggests an interior setting without distracting from the focal point-Lefort himself. Sargent captures not only Lefort's likeness but also a palpable sense of his character, infusing the composition with quiet intensity. The unfinished quality of the surrounding elements draws the viewer's attention to Lefort's penetrating gaze and the finely modeled features of his face.

This work exemplifies Sargent's remarkable ability to balance meticulous detail with expressive, painterly qualities. It is a testament to his mastery of portraiture during this pivotal phase of his career, where every stroke breathes life into the canvas. As Sargent began creating masterworks like Madame X, Carnation, Lily, Lily, Rose (1885-1886, Tate Gallery, London), and Lady Agnew (1892, Scottish National Gallery, Edinburgh), this portrait of Lefort remains an intimate and powerful reflection of the artist's talent for capturing both the exterior and interior worlds of his subjects.




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