Image source: artvee.com
Introduction: Philip Alexius de László and the Art of High-Society Portraiture
Philip Alexius de László, one of the pre-eminent portraitists of the early twentieth century, created a vast gallery of kings, queens, statesmen, and social luminaries. His 1926 oil painting “Pauline Morton Sabin” is a testament to his skill at capturing both the likeness and inner vitality of powerful women during the Jazz Age. Sabin—an American socialite, political activist, and later a leading advocate for repealing Prohibition—sat for de László at the height of her influence. This portrait is more than a record of elegant attire; it offers a nuanced glimpse into the personality, status, and ambitions of a woman navigating the evolving roles of femininity and public life in the 1920s.
Historical Context: A Modern Woman in the Roaring Twenties
Pauline Morton Sabin (1887–1955) was born into privilege—the daughter of Paul Morton, Secretary of the Navy under Theodore Roosevelt—but she forged an identity beyond inherited wealth. By the mid-1920s, Sabin had become a prominent member of New York’s elite, distinguishing herself through philanthropic endeavors and active participation in Republican Party politics. In 1929 she would found the Women’s Organization for National Prohibition Reform, rallying millions against the Eighteenth Amendment. When she posed for de László in 1926, she symbolized a modern, confident, and socially conscious woman. The portrait thus operates at the intersection of Old World portrait tradition and New World progressivism.
Composition and Pose: The Language of Gesture
De László frames Sabin in a classic three-quarter pose, turning her shoulders slightly toward the viewer while allowing her gaze to engage directly. This orientation provides dynamism without sacrificing elegance. Sabin’s left hand rises delicately, fingers lightly touching her chest, creating an S-curve that amplifies femininity and poise. The gesture suggests self-assurance and subtle self-presentation—an echo of aristocratic portrait conventions yet imbued with modern ease.
Positioning Sabin against a dark, unadorned background isolates the figure, heightening the luminosity of her skin and the vibrancy of her attire. The absence of distracting props or architectural settings brings psychological focus to her expression and bearing.
Palette and Lighting: Crafting Warmth and Radiance
De László’s color choices revolve around warm earth tones, golden highlights, and delicate flesh hues. The russet-orange wrap draped over Sabin’s shoulders glows against the deep shadowed ground, creating a halo effect that frames her face and neckline. Subtle transitions of ochre, burnt sienna, and velvety brown sweep through the garment, rendered with loose, confident brushwork that hints at luxurious fur or velvet without literal description.
The artist employs a high-key facial illumination, directing light from the upper left so it falls across Sabin’s forehead, cheeks, and the luminous pearls encircling her neck. This soft radiance not only sculpts the contours of her face but underscores the pearl strand—a symbol of refinement and wealth. The interplay between warmth in the clothing and cooler highlights on the skin produces chromatic balance, drawing the viewer’s eye repeatedly to her visage.
Brushwork and Surface: László’s Painterly Signature
Unlike the photographic precision embraced by some contemporaries, de László cultivated a spirited, fluid handling of paint. In “Pauline Morton Sabin,” passages of rapid, swirling strokes enliven the background and cloak, while finer, smoother strokes model facial features. This contrast establishes a hierarchy of detail: the sitter’s personality radiates through finely tuned eyes and lips, whereas clothing is suggested through bravura marks that evoke texture and movement.
Close inspection reveals layers of translucent glazes overlaying opaque underpainting in the flesh areas, producing a luminous, life-like glow. In contrast, the deeper tones of the wrap consist of more direct, opaque applications, allowing de László’s brush to leave visible trails—evidence of his energetic working method and a nod to Impressionist spontaneity.
Iconography of Dress and Jewelry
Sabin’s attire is not incidental. The shimmering, low-cut gown and rich wrap evoke the glamour of post-World War I high society, when women embraced looser silhouettes and opulent evening wear reflecting new freedoms. Her pearl necklace and matching earrings function as understated markers of wealth and taste, conveying refinement without ostentation. Pearls further echo feminine virtue and wisdom, attributes aligned with Sabin’s later political activism.
The soft, waved hairstyle—shorter than Victorian standards—speaks to contemporary fashion influenced by the flapper aesthetic while maintaining an air of sophistication. Every sartorial element signals a balance between modernity and elegance.
Psychological Insight: Capturing Character beyond Likeness
De László’s greatest talent lay in suggesting the inner life of his sitters. In Sabin’s portrait, the slight uplift of her lips and calm, confident gaze project intelligence and warmth. She is neither aloof nor coquettish; instead, she emanates approachable strength. The hand gesture—often interpreted as an expression of modest assurance—may also allude to speaking or presenting, foreshadowing her forthcoming leadership on the national stage.
The minimal background intensifies psychological immediacy. Without studio props, Sabin appears timeless, her identity shaped by her demeanor rather than historical trappings. De László thereby honors her individuality while ensuring universal resonance.
Comparison with Contemporary Portraiture
In 1926, society portraiture encompassed multiple styles—from John Singer Sargent’s bravura brushwork to Cecil Beaton’s theatrical photographs. De László, though Hungarian by birth, commanded the British and American portrait market. His approach diverged from Sargent’s swirling abstraction and from the harder naturalism of William Orpen. Instead, László synthesized academic discipline with impressionistic light, producing portraits that felt both classical and fresh.
Sabin’s portrait reflects this synthesis. It shares with Sargent a loose energy in drapery, yet it retains a subtle formality in pose and composition reminiscent of Gainsborough. Compared with the emerging modernists—Picasso, Matisse—László’s realism appears conservative, but his sensitivity to character and painterly surface grants his work enduring appeal.
Feminine Identity and Social Power
Sabin’s portrait predates her leadership in the anti-Prohibition movement by just three years. De László could not foresee that she would galvanize millions to challenge federal law, yet his depiction radiates latent authority. The confident head tilt, direct gaze, and poised gesture align with contemporary notions of the “New Woman”—educated, politically engaged, and socially mobile.
Within the broader history of female portraiture, this painting marks a transition from passive elegance to active self-possession. Sabin appears as a collaborator rather than a decorative subject, embodying both society’s expectations and her own ambitions.
Technique and Conservation Notes
Restoration reports on comparable de László works reveal a preference for fine-weave canvas primed with warm-toned grounds. His pigments, often Old Holland and Winsor & Newton oils, included lead white, vermilion, and ultramarine, all prone to subtle tonal shifts over time. In “Pauline Morton Sabin,” the preservation of flesh tones indicates careful glazing and protective varnish applications typical of his studio practice.
Infrared imaging in similar portraits uncovers minimal underdrawing—de László sketched directly with paint, mapping key features swiftly. Pentimenti in the hand and drapery demonstrate iterative refinement as he chased rhythm and balance. These alterations, though invisible to casual viewers, contribute to the painting’s lively overall impression.
Reception and Legacy
When exhibited, de László’s portraits routinely garnered praise for elegance and verisimilitude. Collectors valued their ability to immortalize status while conveying subtle personality. For Pauline Morton Sabin, this portrait functioned not only as a personal keepsake but as a public statement of grace and influence.
Today, the painting stands as a poignant record of a pivotal figure in American politics and as a high point in de László’s late-career production. Scholars studying the interwar period, women’s history, and portraiture turn to this work for insights into the aesthetics of power and the cultural milieu of the Jazz Age.
Conclusion: A Timeless Encounter
In “Pauline Morton Sabin,” Philip Alexius de László achieves a rare blend of technical virtuosity, psychological nuance, and cultural commentary. Through controlled lighting, refined color harmonies, and expressive brushwork, he portrays Sabin as both society icon and emerging leader. Nearly a century later, the portrait endures as an image of dignity and quiet strength—proof that great portraiture can transcend fashion, capturing the essence of an individual and the spirit of an era in a single luminous moment.