Perspective: John Singer Sargent painted “The Daughters of Edward Darley Boit” when he was 26. He never topped it.
space. The negative is given as much weight as the positive. The painting is enormous and a quarter-of-an-inch shy of being a perfect square. Author Henry James , deftly dubbed it “the hall with four children.” Another contemporary critic called it “four corners and a void.”Edward Boit was a talented watercolorist. His father had married into a sugar fortune. He, too, married into wealth, in 1864.
That last remark was ungenerous but it speaks to something unsettled and almost cast adrift about the four girls in Sargent’s painting. Young Isa is the one standing in the light at left. She was 8 years old. Ya-Ya, 4, is seated on the rug, kept company by a large doll. Florie, 14, leans against a vase in the background. And Jeanie, 12, stands beside her.
The light comes from the left. The two adolescents are shielded from it by the recessed enclave in which they have found their uneasy refuge. The girls wear white pinafores, allowing Sargent to show off his precocious mastery of a full range of tones created by the fabric’s folds and creases. Three of the girls look directly out at the viewer. This is expected: They’re posing for a portrait. But Florie, inexplicably, is shown in profile, gazing into a dark void. She seems oblivious to the breathing, proximate presence of her sister beside her. Her spine rhymes with the contour of the enormous Japanese vase against which she leans. She doesn’t make sense.Story continues below advertisementWhat does this enigmatic word mean? People have developed all kinds of theories.
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