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lively movement of daughter Ena, and
the dignified simplicity of
Wertheimer's wife, Flora.
However, regardless of the warmth
with which Sargent represented the
Wertheimers — and though Sargent
included Rothschilds and Sasoons
among his clients — the 12 portraits of
the family were still viewed as being a
series of representations of "the Jews."
At the same time Sargent was
painting the Wertheimers, Jews in
Berlin were living a quite different
lifestyle.
They were not permitted access to
public spheres. They were excluded
from the court, the military, the state
bureaucracy and, often, universities.
Also, Jews had begun leaving their
villages for the cities about one gener-
ation before non-Jewish Germans,
resulting in widespread dispersal of
family members, and, therefore, a
kind of worldliness their neighbors did
not share.
The enormous impact that these
factors had on Berlin culture is
explored in "Berlin Metropolis: Jews
and the New Culture, 1890-1918,"
running at the Jewish Museum
through April 23.
The show traces the influence of
German Jews on the shaping of one of
the world's most thriving and innova-
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ety, overt anti-
Semitism was ram-
pant, and any dis-
play of their
wealth, no matter
how minimal,
served as fuel to the
critics.
By the time
Sargent had settled
in London, he had
already earned a
reputation as both
a premier portrait
painter and an
extravagant dandy.
Though portraiture
was often scorned by moderns of the
time who touted artistic independence
over the constraints of the sitter's com-
mission, Sargent reveled in compar-
isons to Van Dyck, Gainsborough and
Titian.
Wertheimer, who was in the busi-
ness of traditional art, must have been
drawn to Sargent's continuation of the
"grand manner." It is possible, too,
that the rumors of eccentricity and
homosexuality that trailed Sargent
provided a commonality for the men:
two distinct outsiders living within the
confines of strict societal mores.
Regardless, Wertheimer and Sargent
struck a friendship, in addition to an
unprecedented commission, and the
artist dined in the Wertheimer family's
home at least once a week.
As was his existence, Sargent's por-
traits were larger than life and ambi-
tious, yet intuitively disarming in their
expression of the personalities of his
subjects, and the Wertheimer portraits
are no exception.
The bravura of his brushstroke and
delicate explosions of palette were
used to personify the studious nature
of Wertheimer's son Ferdinand, the
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