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Sargent found her “strange, weird, fantastic, curious.” Fascinated, he determined to capture her as a sitter, and he embarked on an elaborate courtship. He began by enlisting the help of a mutual friend, Ben del Castillo, to whom he wrote, “I have a great desire to paint her portrait and have reason to think she would allow it and is waiting for someone to propose this homage to her beauty… tell her that I am a man of prodigious talent.” Virginie Gautreau conceded. The sittings began in Paris in 1883, and that summer Sargent set off for the Gautreaus’ country estate, the Château des Chesnes at Paramé in Brittany. Here, among the immemorial oaks that gave the 1708 house its name, the Gautreaus had planted clumps of pampas grasses and tropical palms in accordance with the fashionably exotic taste of Troisième République society.Officials I Just Told Myself I Said Self Myself Said Huh I Said You Know We Crazy Shirt
Born in Louisiana on the eve of the Civil War, Virginie Avegno was essentially a Southern belle, trained from childhood in the wiles of her caste. She was raised in the family mansion Parmlange Plantation, a dizzyingly romantic house built a century earlier by her ancestor Claude Vincent de Ternant, on the banks of the False River (once a part of the Mississippi). The house preserves its antebellum charm to this day, its stately columned facade framed by a pair of pigeonniers and an allée of live oaks dripping with Spanish moss. Virginie seems to have inherited some of her sibyl’s ways from her grandmother, Virginie de Ternant Parlange, a steel magnolia who is said to have saved the plantation by strategically entertaining both the Confederacy’s general Richard Taylor and the Yankee general Nathaniel Banks; family lore has them both sleeping in the same room at different times. She was also an unreconstructed Francophile. She installed Parisian furnishings at Parlange and commissioned portraits of herself and her three children, Julie, Marie Virginie, and Marius, from the French court painter Edouard-Louis Dubufe. The artist, who had painted the Em- press Eugénie and the Prince Impérial, depicted de Ternani Parlange in midnight blue and regal ermine, and she hung these portraits in each corner of her salon, where they remain to this day. Collections of the calling cards that she carefully preserved (and which her descendant Angèle Parlange now incorporates into her textile designs) are testament to the high store she set by illustrious titles.
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