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You n try<!-- --> <a href="/newsletters">subscribg here</a> or try aga later.</span></div></div></div></div></hear><article class="article" data-rid="551564" data-rtype="story"><div id="gtm-visibily-50" class="gtm-pixel"></div><div id="gtm-visibily-75" class="gtm-pixel"></div><div id="gtm-visibily-100" class="gtm-pixel"></div><sectn class="sectn--bo sectn--bp sectn--first sectn--learboard"><div class="uw bp--rponsive"><div class="bp-ner"><p class="bp-label">Advertisement</p><div class="bp-ntent bp-ntent--centered"><div></div><div id="adslot-3909"></div></div></div></div></sectn><hear class="article-sectn--tle article-sectn--island"><div class="article-actn"><h1 class="article-hdr">'Boston's Apollo' Nam John Sger Sargent's Black Mol And Tells His Story</h1></div><div class="article-meta"><span class="article-meta-em--date"><span tle="Wednday, April 8th 2020, 11:23:00 am">Updated <!-- -->April 08, 2020</span></span><ul class="article-meta-em--thorlist article-meta-group"><li class="article-meta-em article-meta-em--thor"><a class="article-meta-lk article-meta-em--thor" href="/si/staff/lloyd-schwartz">Lloyd Schwartz</a></li></ul><div class="article-share article-share-ins"><a href=" & target="_blank" rel="noreferrer" class="article-share-lk" tle="Share on Facebook"><svg class="in in-facebook" viewBox="0 0 128 128" role="img" width="24" aria-labelledby="tle"><tle id="tle">facebook</tle><path display="le" d="M120.1,0H8.2c-4.4,0-8,3.6-8,8v112c0,4.4,3.6,8,8,8h60.4V78.2h-16V59.8h16V43.9 c0-14.6,8.9-24.3,26.4-24.3c7.7,0,13.1,0.9,13.1,0.9V37h-12c-5.3,0-8,3-8,8.2v14.5h18.7l-2.7,18.4h-16v49.7h32c4.4,0,8-3.6,8-8V8 C128.1,3.6,124.5,0,120.1,0z"></path></svg></a><a href="mailto:?body='Boston's Apollo' Nam John Sger Sargent's Black Mol And Tells His 'Boston's Apollo' Nam John Sger Sargent's Black Mol And Tells His Story" class="article-share-lk" tle="Share by email"><svg class="in in-email" viewBox="0 0 128 128" width="20" aria-labelledby="tle"><tle id="tle">Email</tle><path display="le" d="M64.2,86.3l-64-48V104c0,4.4,3.6,8,8,8h112c4.4,0,8-3.6,8-8V38.4L64.2,86.3z M64.2,72l64-48 c0-4.4-3.6-8-8-8H8.2c-4.4,0-8,3.6-8,8L64.2,72z"></path></svg></a></div></div></hear><sectn class="article-sectn--lead-image article-sectn--lead-image--hero"><figure class="article-fig article-fig--hero"><picture class="article-fig-ner"><img class="article-image" src=" alt="John Sger Sargent, Study of Two Male Nus for a Cartouche for the Rotunda of the Mm of Fe Arts, Boston. (Courty Isabella Stewart Gardner Mm)" style="object-posn:50% 50%"/></picture><figptn class="article-fig-ptn">John Sger Sargent, Study of Two Male Nus for a Cartouche for the Rotunda of the Mm of Fe Arts, Boston. (Courty Isabella Stewart Gardner Mm)</figptn></figure></sectn><sectn class="article-sectn--ntent hang-punctuatn article-sectn--first article-sectn--centered article-sectns"><p class="nt-medium">“Atlas, wh the world on his shoulrs, this was my body except my head.”</p><p class="">That’s Thomas McKeller scribg John Sger Sargent’s image of him “Atlas and the Hperis,” a patg that was part of the famo Amerin artist’s large missn for the rotunda of Boston’s Mm of Fe Arts.</p><p class="">For nearly a , McKeller was Sargent’s prcipal mol for the heroic figur (both male and female) of that missn and another large-sle project, two huge allegoril murals memoratg Harvard’s ntributn to World War I at the entrance to Harvard’s Winer Library. He was even the body (but not the head) Sargent ed for his portra of Harvard Print Abbott Lawrence Lowell.</p><p class="">Now, after s of anonymy, the mol gets top billg a new show at the Isabella Stewart Gardner Mm lled “Boston’s Apollo: Thomas McKeller and John Sger Sargent.”</p><p class="">The relatnship between this artist and his mol is of special tert partly bee the mol is black—and except for the portra of the Harvard print and one of the soldiers the Harvard mural, he never has any cloth on. McKeller was 26 years old, and magnificent shape, when the 60-year-old Sargent met him an elevator at Boston’s fashnable Hotel Vendome. McKeller was operatg the elevator, and Sargent asked him to mol for him. Did McKeller agree only for the money?</p><p class="">In a <a href=">short film posted by the Gardner Mm</a>, the lone survivor of the McKeller fay, McKeller’s great-niece Deirdre McKeller O’Bryant, suggts that her uncle me up to the more tolerant north bee he was gay. Certaly one of the most trigug elements of this show is the obv possibily that there was a more timate relatnship between Sargent, whose homosexualy is now wily agreed upon, and McKeller than jt a profsnal one.</p><figure class="article-fig size-full"><a href="><picture><img class="size-full article-image" src=" alt="John Sger Sargent 's portra of Thomas McKeller, pated between 1917 and 1921. (Courty Mm of Fe Arts, Boston) " loadg="lazy"/></picture></a><figptn class="article-fig-ptn">John Sger Sargent 's portra of Thomas McKeller, pated between 1917 and 1921. (Courty Mm of Fe Arts, Boston)</figptn></figure><p class="">One major piece of evince for Sargent’s emotnal or sexual feelg for McKeller is one oil patg (borrowed om the MFA), Sargent’s heroic portra of McKeller as a full-ontally-nu angel (there seem to be wgs om an earlier versn Sargent tried to bsh out), an unashamed, lovg image of a plex, maybe even sufferg figure, his legs splayed, his head turned partially away and lookg upward to the source of light. Sargent never sold . It was on his stud wall until his ath.</p><p class="">The only survivg letter om Sargent to McKeller—displayed wh other letters and memorabilia the anteroom to the show—is one which he asks McKeller to e to his stud. There’s also a mysterly unshed check for $20 om Sargent’s agent to McKeller (myster bee McKeller often need money—he lled a “gratuy”—to pay for necsi or to pay off bts). In 1934, ne years after Sargent’s ath, McKeller got married.</p><p class="">The ne drawgs of McKeller are an excg fd, some of them pictg wild actn—McKeller on horseback—and some more static pos. But the l of Sargent’s charal, heavy or fe, are never static. They are nstantly motn, shg the figure forward, flexg the figure’s mcl, rsg the figure’s every movement. The drawgs are far more alive than the figur the stilted mural self.</p><figure class="article-fig size-large"><a href="><picture><img class="size-large article-image" src=" alt="John Sger Sargent, "Study for Chiron and Achill for the Rotunda of the Mm of Fe Arts, Boston," 1916–1921. (Courty Isabella Stewart Gardner Mm)" loadg="lazy"/></picture></a><figptn class="article-fig-ptn">John Sger Sargent, "Study for Chiron and Achill for the Rotunda of the Mm of Fe Arts, Boston," 1916–1921. (Courty Isabella Stewart Gardner Mm)</figptn></figure><p class="">One page of drawgs is particularly revealg of a larger issue unrled by much of the show’s wall py. The page clus a drawg of McKeller’s head along wh two imag of the head of Apollo, the famo “Apollo Belvere,” a whe head Sargent would actually e the mural. Jt as the “Atlas and the Hperis” (“my body except my head”), the figur McKeller was posg for were always whe.</p><p class="">Throughout the exhibn, the wall text rais the qutn of whether the imag are “erasur,” takg away the mol’s real inty. In the 1890s, we are told at the begng of the show, “segregatn Boston was enforced socially and enomilly rather than legally.”</p><p class="">On the last wall, there’s another, larger photograph of Sargent’s “Atlas and the Hperis,” wh McKellen’s statement about Atlas havg the world on his shoulrs wrten large letters unrneath. The reproductn here repeats the very first image that greets you at the entrance to the show. The curator obvly regard this as an important patg, and ma me extremely eager— fact, sperate—to see the origal. But why wasn’t clud the show?</p><figure class="article-fig size-large"><a href="><picture><img class="size-large article-image" src=" alt="The stairway and si aisl of the Mm of Fe Arts, Boston wh murals by John Sger Sargent, 1922–1925. Sargent's patg of Atlas is on the right. (Courty Mm of Fe Arts, Boston.)" loadg="lazy"/></picture></a><figptn class="article-fig-ptn">The stairway and si aisl of the Mm of Fe Arts, Boston wh murals by John Sger Sargent, 1922–1925. Sargent's patg of Atlas is on the right. (Courty Mm of Fe Arts, Boston.)</figptn></figure><p class="">If I had looked through the entire talogue—que a good one, I later disvered, eded by curator Nathaniel Silver, wh stimulatg, engrossg, and surprisgly readable says—I would have learned that “Atlas and the Hperis” belongs to the MFA, and is actually part of Sargent’s mural sequence. Yet somehow after years of visg the MFA had elud me. But turns out that ’s not the rotunda. It’s one of the si aisl above the mm’s grand stairse. And ’s not hangg on the wall, ’s stuck to the ceilg—obvly renrg unmovable, and therefore un-lendable.</p><p class="">This work, on the ceilg, is flanked by two bldg spotlights directed at a glass se below the patg. If you looked up and tried to see the patg om the rrect angle, the light sh directly to your ey. So ’s impossible to see the real “Atlas and the Hperis” where Sargent tend to be seen. And the bt image of the talogue is only an plete tail. I gus the bt way to look at Sargent’s powerful image of Thomas McKeller as Atlas wh the weight of the world lerally on his shoulrs, such a key emblem for this show, is to go to the Gardner and see s two photo reproductns.</p><hr/><p class=""><em>“<a href=">Boston’s Apollo: Thomas McKeller and John Sger Sargent</a>” is now on view through mid-September. The Gardner Mm announced the postponement of the exhibn "Taca Dean: Still Life," which was schled to open June, due to the ronavis.</em></p></sectn><sectn class="article-sectn--story-group article-sectn--centered"><p><em>This article was origally published on Febary 18, 2020.</em></p></sectn><sectn class="article-sectn--story-group article-sectn--centered Tags_article-sectn--tags__NOKiB"><a data-ec="Article Tags" data-el="Visual Arts" data-ea="Click" class="article-tag" href="/news/tag/sights">Visual Arts</a></sectn></article><sectn class="article-sectn--story-group article-sectn--centered"><div class="ntributor has-photo"><div class="ntributor-profile"><figure class="ntributor-profile-em ntributor-photo"><a href="/si/staff/lloyd-schwartz"><picture><img src=" class="lazy rd-image" alt=""/></picture></a></figure><p class="ntributor-profile-em ntributor-b"><a class="ntributor-name" href="/si/staff/lloyd-schwartz">Lloyd Schwartz</a> <span class="ntributor-tle">Arts Cric</span><br/>Lloyd Schwartz is the classil mic cric for NPR’s Frh Air and Somerville's Poet Lreate. </p><p class="ntributor-more"><a class="ntributor-lk ntributor-b-lk" href="/si/staff/lloyd-schwartz">More…</a></p></div></div></sectn><sectn class="sectn--bo sectn--bp"><div class="uw bp--rponsive"><div class="bp-ner"><p class="bp-label">Advertisement</p><div class="bp-ntent bp-ntent--centered"><div></div><div id="adslot-3910"></div></div></div></div></sectn><div></div><div class="global-d-ponents onmand--is-playg"><div class="global-player"><d preload="to"></d><div class="global-player-bar"><div class="global-player-bar-left"><button class="global-player-bar-ntrol"><i class="in-play in-play--global-player-bar in-play--psed"><span class="in-play-shape"><span class="in-label" data-note="for-screen-rears">Rume</span></span></i></button><div class="global-player-label global-player-label--live"><div class="global-player-channel"><span>Listen Live</span></div><div class="global-player-tle"><a class="global-player-label-lk" href="/">Loadg...</a></div></div></div><div class="global-player-bar-right"><div class="global-player-x"><svg class="in in-close" viewBox="0 0 24 24" aria-labelledby="tle"><tle id="tle">Close
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