JOURNAL ARTICLE

John Singer Sargent's Portraits of Henry James as Windows into a Suppressed Queer Friendship.

  • Published In: Henry James Review, 2024, v. 45, n. 3. P. 274 1 of 3

  • Database: Academic Search Ultimate 2 of 3

  • Authored By: Fisher, Paul 3 of 3

Abstract

With virtually all the thirty-four-year correspondence between Henry James and John Singer Sargent lost Sargent's four portraits of James yield intriguing clues to the interiority of these men's relation. The three extant portraits hint that this suppressed queer friendship was both more and less than a monolithic professional alliance. All three exhibit both affinity and unease. The early portraits hint at James's heavy influence and Sargent's complex resistance to it. The two later portraits especially the celebrated oil portrait of 1913 show a mature alliance that sheltered both men and confirmed them as masked queer allies in a repressive society. [ABSTRACT FROM AUTHOR]

Additional Information

  • Source:Henry James Review. 2024/10, Vol. 45, Issue 3, p274
  • Document Type:Article
  • Subject Area:History
  • Publication Date:2024
  • ISSN:0273-0340
  • DOI:10.1353/hjr.2024.a941314
  • Accession Number:180517641
  • Copyright Statement:Copyright of Henry James Review is the property of Johns Hopkins University Press and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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