THE ORIGINAL

LYNNE KONSTANTIN
Special to the Jewish News

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Two exhibits at New York's

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the 20th century.

n 1887, Henry James wrote,
"There is no greater work of art
than a great portrait — a truth
to be constantly taken to heart
by a painter holding in his hand the
weapon that Mr. Sargent wields.
Mr. Sargent — John Singer Sargent
— was born to an American expatriate
family in Italy, and was living in
London, by way of Paris, in 1898,
when he painted the first of 12 por-
traits of the Asher Wertheimer family.
They are on display together for the
first time in 75 years at the
Jewish Museum in New
York in a show titled "John
Singer Sargent: Portraits of
the Wertheimer Family."
Wertheimer, a successful
London art dealer, epito-
mized the situation of the
"civilized" Jew in turn-of-
the-century England.
"English Jews had much
greater access to social insti-
tutions and prominent peo-
ple than American Jews at
that time," says Norman
Kleeblatt, curator of the
exhibition.
"There was a greater
acceptance of Jews who had
`made it,' but at the same
time there was a greater
fear" that the large influx of
European Jews would result
in less financial opportuni-
ties for native Englishmen.
As a result, though Jews
were often accepted in soci-

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This luminous portrait
Ena and Betty (1901), daughters
of Asher and Nora Wit'rtlichiler,
among Sargent's highest achievements.

_lam Singer Sargent's portraits of
Asher Wertheimer (1898) awais
wife, Flora 1Vertheimer (1904).
11/erthei111er, it succes,fill London
art dealer, epitomized the situation
of the "civilized" few in
turit-or the-cottury Engl,md.

Sargent's pormlit in oil on canvas of
Lilt', Ruby and Ferdinand
Wi'rtheimer ( 1902). Regardless of
the warmth with which Sargent
npresented tie ll''citbeiniers, die
1 2 portraits of the family were still
viewed by London society as being a
series of representations of the