Date of Award

2026

Document Type

Dissertation

Degree Name

Master of Arts (MA)

Department

Fine and Decorative Art and Design

Abstract

This dissertation will examine how the white clothing of four portraits painted by John Singer Sargent between 1883 and 1892 operates symbolically, psychologically, and technically. Often symbolizing virtue, purity, wealth, and social status in Western society, white could also symbolize more abstract qualities such as emotion, time, and dual realities. The white clothing created concurrent storylines, broaching many areas of the subject’s life. Silk, satin, organdy, organza, cotton, flat, sheer, shiny, thin, heavy, voluminous, sleek: the textures, density, and abundance of the white fabric allowed Sargent to expand the psychological narrative while creating atmosphere. The paintings Daughters of Edward Darley Boit, Mrs. Robert Harrison, Helen Dunham, and Lady Agnew of Lochnaw will be explored. The examination of an additional work painted in 1911, Two Girls in White Dresses, will illustrate how Sargent subtly suggested earlier what he would later boldly assert, that fabric holds emotion. This dissertation will analyze the historical era, the artist, and these paintings to show that Sargent during this period used the white of his subject’s clothing as a means of expressing psychology and atmosphere. Further, it is this paper’s assertion that Sargent went beyond mere image to comment on the inner life of his subjects, their role within society, and on society itself. It is my contention that these portraits in their use of white clothing challenge the status quo, making both a personal and societal statement about the subjects. Sargent’s use of white in this way is not neutral, but rather expressive, loaded, and supremely modern.

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