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Ena and Betty, daughters of Asher and Mrs. Wertheimer

1901

肖像画
Ena and Betty, daughters of Asher and Mrs. Wertheimer
Dimensions
185.4 × 130.8 cm
Medium
Oil on canvas
Collection
Tate Britain
John Singer Sargent

United States

John Singer Sargent

1856 – 1925

Born in Italy to American parents, he spent his early years in Paris before esta…

✦ Highlights (technique & color)

A major highlight is the bold brushwork achieved through the alla prima (wet-on-wet) technique. From the deep crimson velvet worn by Ena to the white silk damask worn by Betty, the distinct ways the two fabrics reflect light are masterfully rendered through the texture of the paint.

✦ The setting of this painting

The interior of the Wertheimer family residence at 8 Connaught Place, London. To the right stands an immense vase of the finest Oriental porcelain, reflecting the art trade of their father, Asher. The background furnishings, including dark lacquerware and an Asian folding screen, further heighten the striking presence of the sisters.

✦ Historical context

Late 19th- to early 20th-century Britain, an era when the newly affluent Jewish upper class sought to establish their social status. At the same time, class tensions persisted between the old establishment and the new elite, alongside deep-seated antisemitic prejudice.

✦ A question to consider

Who might the two sisters be looking at?

In a darkened room, two women stand nestled close together.

The woman on the left wears a deep crimson dress, a red flower tucked into her dark hair. The woman on the right is clad in a white gown, smiling tenderly.

The intimate bond of sisters. Youthful skin, and radiant, exuberant smiles. A warm, uninhibited atmosphere pervades the canvas, breaking the rigid mold of traditional portraiture. It offers a glimpse of the deep trust shared between the painter and his sitters.

In reality, however...

This exquisite portrait of sisters would later become the target of fierce hatred from British society.

"They ought to be isolated in some special 'Chamber of Horrors.'"

Such harsh words were hurled at them, even by a prominent historian.

The women depicted are the eldest daughter, Ena, and the second daughter, Betty—daughters of Asher Wertheimer, London’s premier art dealer.

In 1898, Asher commissioned John Singer Sargent to paint a portrait to commemorate his silver wedding anniversary. This marked the beginning of an extraordinary relationship, with the Wertheimer family eventually commissioning a total of twelve family portraits from him. It became the largest series of commissions from a single client in Sargent's entire career.

Sargent formed a deeply affectionate bond with the family. At their residence at 8 Connaught Place in London, he was a frequent guest, sharing countless dinners with them. Eight of his portraits hung on the walls of their dining room—a space he affectionately referred to as "the Sargent Gallery."

Ena and Betty studied at the Slade School of Fine Art, an institution at the cutting edge of art education at the time. They were highly independent, intellectual women. Ena, in particular, possessed a rich sense of humor.

In another portrait Sargent painted of her, she playfully borrowed a man’s hat and cloak from another sitter, striking a pose as if caught in a gust of wind. It speaks volumes about the candid, unpretentious friendship she shared with the artist.

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