Sir Philip Sasson (Phillip Albert Gustave David Sasson) 1923

Editor: We're looking at John Singer Sargent’s portrait of Sir Philip Sassoon, painted in 1923. It's an oil painting and… there’s something about the way he holds himself, almost languid against that intense darkness, that gives off a very particular air. How do you interpret this work? Curator: Air is right! It's so charged with unspoken narratives, isn’t it? The shadowy backdrop really forces you to focus on Sassoon himself – almost like a stage spotlight, isolating him. Sargent was a master of hinting at personality without spelling it out. Do you notice how the brushstrokes seem almost… nervous? They certainly imbue vitality, and contrast nicely with the dark background which recedes endlessly! Editor: Yes, definitely, they feel lively, as if the image is about to morph. It’s interesting you say “nervous"— is that common in his portraits? Curator: Not always nervous, but certainly energetic! Sargent sought to capture the essence, the spirit, and the quicksilver soul of his subjects, rather than a mere likeness. Look at the impasto on the white scarf, it’s practically dancing! I wonder, do you think Sargent successfully immortalized the character of Sassoon? Did he see more than just a baronet? Editor: I'm still deciding if it's the energy, or more like something aloof I am responding to. But maybe it is both? Curator: Maybe! Art often exists in the delicious tension of "both/and" rather than the rigidity of "either/or." It really highlights the elusive power of portraiture, wouldn't you agree? Editor: Absolutely, especially in revealing the inner life through just the outer shell. It gives me much to reflect on!