Cecilia Beaux (1855-1942) is known, if known at all, as a quiet, conservative painter — a portraitist of the wealthy and well connected in late 19th- and early 20th-century America. Neglected for most of the last century, she has received a modicum of recognition in recent years, with a number of monographs and a comprehensive exhibition of her work in 2007-2008. Contemporary critics have characterized her, much as those of her own day did, as a very good painter, technically proficient, and dedicated to her art.
But this assessment doesn’t begin to do her justice. It seems time for Beaux to be viewed afresh, not just revived. For she is more than a conventional realist, more than a realist with Impressionist tendencies, more even than a portraitist. She is, I would argue, a great original, for whom labels of school, method, and genre fall short. She deserves comparison with her great predecessor, Édouard Manet. Manet was brash and revolutionary; Beaux, restrained and insinuating — but she repays attention with insights as profound. More… “Beaux Monde”