There’s something electric about standing in front of a John Singer Sargent canvas.

At the Metropolitan Music of Art’s Sargent & Paris exhibit, that charge is dialed up to full voltage.

Sargent & Paris explores the early career of American painter John Singer Sargent (1856–1925), from his arrival in Paris in 1874 as a precocious, 18-year-old art student through the mid-1880s, when his infamous portrait Madame X was a scandalous success at the Paris Salon.

This is not just a show about portraits. It is about ambition, rebellion and the seductive power of white paint. This element fascinated me.

Let’s start with white. Nobody painted white like Sargent. In his hands, it’s not a neutral, it is fire. He wields white like a weapon of elegance, using it to illuminate characters, gestures and mood in ways that feel nearly photographic. The whites are not just pure. They are layered, alive.

The exhibit wisely lingers on Sargent’s early years, when he was still digesting the artistic giants, including Velázquez and Manet.

You can see the brushwork loosen, the confidence surge, the influence of Spanish shadow and Parisian flair all fighting for dominance. It’s thrilling to witness a young artist trying things out, unafraid to steal, synthesize and ultimately, soar.

And then there she is.

Madame X.

Still scandalous. Still spectacular. You expect the drama, the gown, the fallen strap later corrected. What surprises is how restrained and modern the portrait feels up close. Her skin glows against a void of deep black. It’s not just a portrait, it is a confrontation.

This isn’t just a show for art history buffs. It is for anyone interested in witnessing talent bloom. You leave understanding why Sargent didn’t just paint portraits. He painted performances. And in Paris, he found his stage.

Discover the complete Sargent at the MET, Sargent & Paris exhibit through August 3rd, 2025.