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Pozzi was also a discriminating amateur of art, with collections of antiquities and works by Tiepolo and Guardi. Sargent, who had already painted his portrait in 1881, would later describe the dashing doctor (in a letter to Henry James) as “a very brilliant creature.” Sargent’s cousin Ralph Curtis wrote of him as “the great and beautiful Pozzi.” In Sargent’s early masterwork Dr Pozzi at Home, the artist portrayed him full-length and larger than life-size, standing before an operatic fall of crimson draperies. Pozzi wears a carmine robe that, despite its papal connotations, is nevertheless frankly déshabillé, and cunningly suggests the sitter’s alluring bedroom manners. While one hand rests in stately attenuation on his breast, in painterly allusion to the portraits of grandees by El Greco or Van Dyck, the other toys with the silken cords of his robe, as if in preparation for a less ceremonial unraveling. As he would later with Mme Gautreau’s fallen shoulder strap, Sargent uses fashion to suggest carnality.Retired Engineer 2026 Not My Problem Anymore Shirt
The allusion seems to have been lost on the London critics, however, when the picture marked Sargent’s Royal Academy debut in 1882 (it was not shown in the Paris Salon). In fact, they seem to have more or less ignored it altogether, although Sargent’s childhood friend, Violet Paget (known by her pen name Vernon Lee), wrote of its “insolent kind of magnificence, more or less kicking other people’s pictures into bits.” After its inclusion in an avant-garde show in Brussels two years later, the critic Emile Verhaeren sniped that “like a champagne glass filled too quickly, it holds more forth than wine.” Pozzi was as vain as Mme Gautreau, and it is tempting to associate them romantically. This remains tantalizing hearsay, however, although the doctor did acquire Sargent’s intimate painting Madame Gautreau Drinking a Toast for his personal collection.
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