Lucy Scholes is a critic who lives in London. She writes for The Times Literary Supplement, The Observer, The Financial Times, The New York Times Book Review, and Literary Hub, among other publications.
Dressed from head to toe in a vibrant red uniform with gleaming gold buttons, hands defiantly on hips, legs spread wide, the bellboy perfectly captures the tension, seen throughout the exhibition “Soutine’s Portraits: Cooks, Waiters & Bellboys,” between personal dignity and professional subservience. A Russian émigré and the son of a poor Jewish tailor, Soutine rarely gave his portraits titles (hence the generic ones provided here), let alone bothered to note the names of his sitters. And yet he is known for posing his anonymous subjects like the royalty of yore: the bellboy’s regal red livery is reminiscent of ceremonial dress; and a pastry cook, his fluffed-up white cap perched on his head like a bejeweled crown, sits resplendent in a kitchen chair like a monarch on his throne.