In his essay "A Woman Is the Oneness of Aesthetic Opposites,"  Mr. Siegel writes about 15 pairs of opposites in women.  And this is what he writes about "Advancing: Recessive": 

Towards something is in the feminine mind importantly: the future as outward and to be visited and had.  But how much retreat is in woman, too, the unseen sinking, the leaving for a previously chosen background.

      In an Aesthetic Realism class, Eli Siegel asked me:  "Do you believe you have a fight between showing off and retreating?"  "Yes," I said.  Mr. Siegel continued:  "You don't know whether to show off or to go into yourself.... [Are there] two different motions [in you] at the same time--ostentation and retreat?"  There definitely were. 

      For instance, I wanted a man to think I was the most charming woman he had ever known--that as I walked into a room I would be the center of interest.  And at the same time I also wanted to retreat, be aloof--if I did have to talk to a man my mind would go blank--I had nothing to say.  Having this purpose, which I learned was contempt--wanting to have a big effect while at the same time retreating and hiding from the world around me--made for great discomfort and pain in my life.  I think in this portrait Sargent shows powerfully that the opposites of assertion and retreat can be beautifully one.  The artist's purpose is to respect the world through wanting to see it as it truly is, and this is the only purpose which will enable a woman to put these opposites together beautifully in herself. 

      As I was writing this paper, I learned that Mr. Siegel had spoken of John Singer Sargent in an Aesthetic Realism lesson given to a young woman.  He asked her, "Do you believe that a self is a oneness of the greatest outwardness and the greatest inwardness?"  And he explained:  "There are two qualities.  Take the ladies of John Singer Sargent--they're very demure, the ladies of 1905, and then also they express themselves.

Madame Gautreau was one of Paris's notorious beauties.  She wore lavender powder and prided herself exceedingly on her appearance.  In The Metropolitan Museum of Art Favorite Paintings, I was affected to read this commentary on her by A. Hyatt Mayer: 

Her studied, indifferent, statuesque presence stopped parties, stopped traffic in the street....But one day on the beach at Cannes, Madame Gautreau overheard a woman say that she was beginning to look worn.  She drove in a closed carriage to her hotel, took a darkened compartment on the train to Paris, and shut herself up for the rest of her life in dim rooms without mirrors.

      "Yes," I said.

      And Mr. Siegel asked me: "Can you show off discreetly?  Try to show off gracefully?" 

     I have been asking as I looked at this painting, "What does it mean to show off gracefully?"  And I have seen what Aesthetic Realism teaches--that if a woman's conscious purpose is to know and like the world and have other persons like it, she will assert herself in a way that is graceful. 

      An important element central to the beauty of this painting is the way Sargent posed his subject--which I learned was not come to easily.  In his biography John Singer Sargent: His Portrait, Stanley Olson writes: 

He sketched her seated in a contorted pose.

 

He sketched her with her head raised, then lowered looking at a book,

 

then playing the piano.  He did...her seated in a different posture,

 

and a brisk oil study of her holding out a champagne glass at a table.

 In desperation he drew her back as she kneeled on a sofa looking out of the window. 

Finally he asked her to stand beside an Empire table, twisted into a conscious profile.*

     One of the reasons I am so affected by Madame X is that Sargent was trying to present this woman with entirety --there is a mingling of admiration, criticism and comprehension.  One notices a very pink ear, as if she is listening--and listening is yielding.  Was there something she was burning to hear?  I was affected to see that the means by which reality enables us to take in the world, Sargent has highlighted in this lady with the warm colors of pink and red: her eye, nose, mouth and hands. 

      And my colleague, artist, and Aesthetic Realism consultant Dorothy Koppelman, pointed out to me--that even the most abstract thing in this painting--space--puts together assertion and retreat.  The space between the arm that leans on the table and her dress has the same form as the most prominent thing in this painting--her nose: it goes out and in.

      Assertion and retreat are in the way Sargent has contrasted and yet related the two sides of Madame Gautreau.  Her left side is a sharply delineated outline from the top of her head down her nose and chin and all the way down her arm.  We feel the assertion in this woman.  Her other arm recedes as she leans back, with the modelling of soft shadowy contours down her arm.  I'm particularly affected by the way this arm is at once forward and back, showy and retreating in its gentle turning motion.  She is depending on the table but she is also assertively grasping it. 

      Sargent shows that Madame Gautreau, in her haughtiness, needs that table.  I learned from Aesthetic Realism a woman needs the world to express and show herself truly. 

     The table too, advances and retreats.  It is the same and different from Mme Gautreau.  The curves and angles of her body are like the curves and angles of the delicate though rather sturdy table she is leaning on.  The curve of the table top is like the curves in the bodice of her dress.  The curve at the base of the table is continued in reverse by the hem of her dress. 

      Assertion and retreat are made one also in the way the receding curve of the table is highlighted while the advancing curve of her dress is dark.  The twist of the table leg, called knuring, in the foreground is like the gentle twisting of her arm. 

      And Sargent uses color to continue this relation of woman and table.  Her reddish, brown hair is like the table; the bright gold highlight on its edge is like the bright gold ornament on the top of her hair. 

      How different this portrait would be were that table absent.  We see her with more power, more depth of meaning because of it.  One of the things I see from this is that in order to show oneself gracefully, you have to be proud of your need for something else--the world. 

Other Aesthetic Realism Resources

The Aesthetic Realism Teaching Method 
The Aesthetic Realism Theatre Company
Eli Siegel, founder of Aesthetic Realism: A Biography
Friends of Aesthetic Realism—Countering the Lies 
Photography Education: the Aesthetic Realism Viewpoint 
The Terrain Gallery / Aesthetic Realism Foundation
Aesthetic Realism: A New Perspective for Anthropology & Sociology
Alice Bernstein, Aesthetic Realism Associate
Ellen Reiss, Class Chairman of Aesthetic Realism, on poet Robert Burns
About Eli Siegel
Eli Siegel's 'Is Beauty the Making One of Opposites?'