John Singer Sargent In 2019, it’s hard to see why1883–84 painting Madame X scandalized Paris. If you visit the Metropolitan Museum of Art ’s American wing, where it now hangs in an ornate gold frame, you’ll see a simple composition of a porcelain-skinned woman with an updo standing against a brushy brown background. She wears a plunging black gown with gold straps, one hand clutching a fan while the other rests on a round table. Her face is in profile, the line of her long nose leading the viewer’s eye slantwise out of the picture.

Today, the painting looks elegant—a woman with immaculate skin and patrician features, clothed in what appears to be an expensive, well-constructed dress. That perception belies the sordid history of its model, Virginie Amélie Avegno Gautreau, and the brouhaha surrounding the portrait’s debut at the 1884 Paris Salon. The public’s reaction was so vehement that Sargent moved out of the country, and his high-society model’s reputation was forever tarnished.

This response was partially due to what now seems like an innocuous detail: Sargent’s picture initially showed one of the dress straps hanging seductively from its subject’s shoulder. Yet the painting’s lewdness probably wasn’t what offended Parisian society. The artwork was something worse—downright tacky.

Sargent was born in Italy in 1856 to an American doctor and social climber mother. “Dr. Sargent and his wife didn’t have the financial means of the gilded expatriates,” Donna M. Lucey writes in her 2017 book, Sargent’s Women: Four Lives Behind the Canvas, “but the couple socialized at the edges of that class, with Sargent’s mother cutting a slightly ridiculous figure as she tried to keep up.” The family moved around Europe, outsiders in both national and financial terms.