Paintings in Oil and Pastel

8/12/2019 Paintings in Oil and Pastel

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TH E

METROPOLITAN MUSEUM

O F A RT

PAINTINGS IN OILAND

PASTEL

BYJAMES A. McNeill

WHISTLER

NEW YORK

MARCH 15 TO M AY 3 IMCM X


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oc

SHLF ARTSARTS ^50310Z

INTRODUCTION

The presentexhibition of paintingsby Whistleraims to givea comprehensivedea of the scopeand developmentof his work in color. Onlyenough picturesave been included to satisfac-orilyfillhe Galleryof Temporary Exhibitions,and in their selectionthe attempthas been madeto exemplifythe painter accomplishmentsadequatelys possiblet the various stagesofhis career. Owing to the limited space at ourdisposalorthe exhibition,ater-colors have notbeen included,as it was fearedthat,with theirexceedinglyelicate and evanescent tone, theycould hardlyhe seen to advantagein the closeneighborhoodof the more dominant oils andpastels.This is the firstonsiderable exhibitionofWhistler's paintingshat has been held in NewYork, althoughis etchingsnd lithographsavefrequentlyeen seen here.The Museum gratefullycknowledgestsobliga-ion

to those who, by their generous cooperation,have aided informingthis exhibition. These are:The National GalleryfArt,Washington,D. C.{Freer Collection);he Brooklyn Institute ofArts and Sciences;The CarnegieInstitute ofV

U.C.LA.ART LIBRARY


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THE METROPOLITAN MUSEUM OF ART

Pittsburgh; Mr. H. H. Benedict; Mr. RichardA. Canfield; Col. Frank J. Hecker; Mr. JohnG. Johnson; Mr. Howard Mansfield; MissRosalind Bernie Philip; Mr. Alfred AtmorePope; Mr. Herbert L. Pratt; Mr. Arthur Studd;Mrs. Samuel Uniermyer, and Mr. John H. IVhitte-more. The thanks of the Museum are particu-arly

due to Mr. Charles L. Freer, without whosecontinual and sympathetic aid the exhibitioncould not have taken place.The catalogue has been prepared with a view tomaking it not only of service in the gallerybutalso an aid to the further study of the lifeand workof Whistler. A chronological biography is given,the pictures are catalogued chronologically,andthere is a short description of each picture withnotes regarding its execution and inclusion in theWhistler exhibitions listed. His work was shownfrom time to time in the Royal Academy, the Salonand other current exhibitions, but this is notedonly in a few important cases. The si^esare allsightmeasurements. Wedmore's catalogue num-er

is given when referringto an etching. If apainting has been reproduced oiie reference isentered, preferencebeing given to the illustrationsin the biography by the Pennells.The authorised LifeofJames McNeill Whistlerby E. R. and J . Pennell, published in 1908, hasbeen freelydrawn upon in compiling this volume,as have also the catalogues of the Memorial ex-

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INTRODUCTION

hibitions held in London and Paris, and theIVorks of James McNeill Whistler, by Elisa-eth

Luther Cary. The self portrait sketch ofJVhistler, which forms the frontispiece of thisbook, is now reproducedfor the firsttime.This catalogue has been prepared by Florence N.Levy.

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JAMES ABBOTT M c N E I L LWHISTLER

CHRONOLOGICAL BIOGRAPHY

1834 July 10 or II Birth at Lowell, Mass.1834 Nov. 9 Baptized James Abbott Whis-ler,

in the Church of St. Anne, Lowell.1837 Family moved to Stonington, Conn.1840 Family moved to Springfield, Mass.1842 His father, Major George WashingtonWhistler, went to Russia to superintend theconstruction of the railroad from St. Peters-urg

to Moscow.1843 ^u - 12 Mrs. Whistler with her familysailed from Boston to join her husband in St.Petersburg.1845 Took drawing lessons at the ImperialAcademy of Sciences, St. Petersburg.1849 April 7 Death of his father.1849 July 29 Returned to the United States,reaching New York Aug. 9, and going at onceto Stonington, Conn.1 85 1 July I Entered the United States Mili-ary

Academy at West Point. Added to hisname his mother's maiden name, McNeill.

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1854 July 16 Discharged from West PointAcademy for deficiency in chemistry.1854 Nov. 7 Received an appointment in thedrawing division of the United States Coast andGeodetic Survey at Washington, D. C, at asalary of $1.50 a day.1855 Feb. Resigned his position. The rec-rds

show that he worked six and a half daysin January and five and three-quarters days inFebruary.1855 Summer Arrived in Paris. EnteredGleyre's studio.1859 His painting, At the Piano, rejected atthe Paris Salon.1859 Went to London to live.1862 Exhibited for the first time at the RoyalAcademy.1863 Paintings rejected by the Paris Salon,but hung in the Salon des Refusees.1863 Took his first house in London and hismother came to live with him at No. 7 LindseyRow, Chelsea.1 863- 1 866 Japanese influence most stronglyshown in his work.1866 Went to Valparaiso.1 87 1 The first exhibition of a Variationand a Harmony.1872 Symphonies exhibited for the firsttime and an impression of night under thetitle Nocturne.


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CHRONOLOGICAL BIOGRAPHY

1872 Arrangement in Gray and Black: Por-raitof the Artist's Mother, shown at the

Royal Academy; the last work exhibited thereby Whistler.1876-7 The Peacock room.1877 April 30 Private view of the first Gros-venor Gallery exhibition, which contained theFalling Rocket.1878 Nov. 25 and 26 Whistler v. Ruskintrial.1878 Dec. Published Whistler v. Ruskin: Artand Art Critics, the first of a series of brownpaper covered pamphlets.1879 Sept. 18 Auction sale of the contents ofhis home, followed by a sale of his paintings atSotheby s on Feb. 12, 1880.1879 Sept. Went to Venice; executed manyetchings and pastels.1880 Nov. Returned to London.1 88 1 Autumn The Pennsylvania Academyof the Fine Arts exhibited The Portrait of theArtist's Mother, and it was seen the followingspring at the exhibition of the Society of Ameri-an

Artists in New York. This was the firsttime that Whistler had been represented inAmerican exhibitions.1885 Feb. 20 Delivered a lecture at Prince'sHall, London, at 10 p.m. This lecture was re-eated

several times and in 1888 he published itunder the title of Mr. Whistler's Ten O'Clock.XI


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1888 Aug. II Marriage with Beatrix God-in,widow of E. \V. Godwin, the architect for

the White House. She was the daughter ofJohn Bernie Phihp, a sculptor,and was herselfan etcher.1890 June The Gentle Art of Making Enemieswas published in London.1 89 1 The Carlyle purchased by the GlasgowCity Gallery and The Artist's Mother by theLuxembourg, Paris.1892 Went to Paris to live.1896 May 10 Death of his wife.1902 April Took a house at No. 74 CheyneWalk, Chelsea, London, returning after tenyears to the neighborhood where he had spentthirty years of his life.1903 July 17 Death of Whistler.

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WHISTLER EXHIBITIONS

1874 June 6 Private view at No. 48 PallMall, London, of thirteen paintings and fiftyprints. Whistler's first one man show.1 88 1 Jan. 28 Press view of an exhibition offifty-three pastels at the Fine Art Society inBond Street, London.1883 Feb. Fifty-one etchings and dry-pointsexhibited in Bond Street Gallery.1884 May Notes Harmonies Nocturnesshown at the Dowdeswell Gallery, London.1884 Nov. ^Twenty-five works sent to the ex-ibition

of the Dublin Sketching Club.1886 May A second series of Notes Har-onies

Nocturnes shown at the Dowdeswell

Gallery.1889 At the College for Working Women,Queen Square, London, there was seen themost representative exhibition of his work sincethat of 1874.1892 March 19 Opening reception at theGoupil Galleries, Bond Street, London, of anexhibition of forty-four Nocturnes, Marines

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and Chevalet Pieces, for which Whistler pre-aredthe catalogue.

1895 Dec. Seventy lithographs exhibited inLondon.1904 Feb. At the 78th Annual Exhibition ofthe Royal Scottish Academy, Glasgow, therewas a memorial group of twenty-two oil paint-ngs

and thirty-three pastels and etchings.1904 Feb. and March ^The Copley Society ofBoston held, at Copley Hall, a Memorial Ex-ibition

of the IVorks of Mr. J. McNeill Whis-ler.There were one hundred and eighty-

four oil paintings, water colors, pastels anddrawings, two hundred and thirty-fiveetchingsand dry-points, and eighty lithographs.1904 April 15 to May 7 The Grolier Club,New York, held an exhibition of etchings,consisting of six hundred and twenty-five im-ressions

from three hundred and ninety-sixplates.1905 Feb. 22 to April 15 Memorial Exhi-ition

of the IVorks of the Late James McNeillIVhistler, First President of the InternationalSociety of Sculptors, Painters, and Gravers,in the New Gallery, Regent Street, London.It was held under the auspices of the Societyand consisted of one hundred and forty-eightetchings from the Royal Collections; a chrono-ogical

collection of three hundred and eighty-eight etchings; fourteen black and white andXIV


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WHISTLER EXHIBITIONS

colored prints; two hundred and seven litho-raphs,black and whites and pastels,and one

hundred and forty-two nocturnes, marines andchevalet pieces.1905 May Exhibition at the Palais de r coledes Beaux-Arts, Paris, consistingof one hundredand eighty-eight paintings, one hundred andone lithographs, and one hundred and fiftyetchings.

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HONORS

1863 GOLD MEDAL AT THE HAGUE1863 THIRD CLASS MEDAL, PARIS SALON

1886 TO 1888 PRESIDENT OF THE SOCIETY OFBRITISH ARTISTS

1888 SECOND CLASS MEDAL, MUNICH

1888 HONORARY MEMBER BAVARIAN ROYAL

ACADEMY

1889 FIRST CLASS MEDAL, MUNICH1889 CROSS OF ST. MICHAEL OF BAVARIA

1889 FIRST CLASS MEDAL, BRITISH SECTION,PARIS EXPOSITION UNIVERSELLE

1889 CHEVALIER OF THE LEGION OF HONOR,FRANCE

1889 GOLD MEDAL, AMSTERDAM

189I MEMBER OF SOCIETE NATIONALE DESBEAUX-ARTS, PARIS

I 89 1 OFFICER OF THE LEGION OF HONOR1893 GOLD MEDAL, COLUMBIAN EXPOSITION,

CHICAGO

1894 TEMPLE GOLD MEDAL, PENNSYLVANIAACADEMY OF THE FINE ARTS,

PHILADELPHIA

1895 GOLD MEDAL, ANTWERPXVII


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1895 PRIZE OF 2,500 FRANCS OFFERED BY THECITY OF MURANO, VENICE INTER-ATIONAL

EXPOSITION

1898, APRIL 23, UNTIL HIS DEATH, PRESIDENTOF THE INTERNATIONAL SOCIETY OFSCULPTORS, PAINTERS AND GRAVERS

1900 GRAND PRIZE FOR PAINTING AND GRANDPRIZE FOR ETCHING, AMERICAN SEC-ION,

PARIS EXPOSITIONUNIVERSELLE

190 1 GOLD MEDAL, DRESDEN190 1 MEMBER ACADEMIE ROYALE DES BEAUX-

ARTS, DRESDEN

1902 GOLD MEDAL OF HONOR, PENNSYLVANIAACADEMY OF THE FINE ARTS,

PHILADELPHIA

1903 DEGREE OF LL.D. CONFERRED BY GLAS-GOV/ UNIVERSITY

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Brinton, Christian. * Modern Artists. Pp.99-113. New York, 1908.Caffin, Charles H. * American Masters ofPainting. Pp. 37-54. New York, 1902.

* The Story of American Painting. Pp.285-303. New York, 1907.Cary, Elisabeth Luther. *The Works ofJames McNeill Whistler. New York, 1907.Chesterton, G. K. Heretics. London, 1905.Child, Theodore. American Artists at theParis Exposition. Pp. 78-97. Art and Crit-cism.

New York, 1892.A Pre-Raphaelite Mansion. Pp. 305-

312. Art and Criticism. New York, 1892.Copley Society of Boston. * Memorial Ex-ibition

of the Works of Mr. J. McNeill Whis-ler,February, 1904.

Cox, Kenyon. * Old Masters and New. Pp.227-254. New York, 1905.Dennis, G. R. * Bryan's Dictionary of Paint-rs

and Engravers. London, 1905.DuRET, Theodore. * Histoire de J. McN.Whistler et de son oeuvre. Paris, 1904.

* Critique d'avant-garde. Pp. 245-260Paris, 1885.XX


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BIBLIOGRAPHY

Eddy, Arthur Jerome. * Recollections andImpressions of James A. McNeill Whistler.London, 1903.Exposition des ceuvres de James MacNeillWhistler. Introduction by Leonce Benedite.Palais de I'Ecole des Beaux-Arts. Paris. May,1905.

Forsyth, Walter Greenwood, and Harri-on,Joseph LeRoy, Ed. * Guide to the Study

of James Abbott McNeill Whistler. Albany,1895. (University of the State of New York.)Gallatin, Albert E. (A. E.G.) * Whistler:Notes and Footnotes, and other Memoranda.New York, 1907.Goodspeed, Charles E. Whistler's Art Dictaand Other Essays. Boston, 1904.Grolier Club, New York. The Etched Workof Whistler. Compiled by Edward G. Ken-edy;

introduction by Royal Cortissoz. 1910.H., C. J. (HoLLiNGwoRTH ?). * The PeacockRoom. Obach Galleries, London, 1904.Hartmann, Sadakichi. * A History of Ameri-an

Art. Vol. 2; pp. 132-137, 163-173. Bos-on,1902.

Hubbard, Elbert. Whistler. East Aurora,N. Y., 1903. (Little Journeys Series.)XXI


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HuYSMAN, J. K. * Certains. (G. Moreau,Degas, Cheret, Whistler, Rops, etc.) Paris^1889.International Society of Sculptors,Painters and Gravers. * Memorial Exhibi-ion

of the Works of the late James McNeillWhistler, London, February 22d to April 15th,1905.IsHAM, Samuel. * The History of AmericanPainting. Pp. 316-340. New York, 1905.Knoor, Th. J. M. Whistler, Zehnuhr Vor-lesung. Strassburg, 1904.Koehler, Sylvester Rosa. * Etching, p.162. New York, 1885.MacFall, Haldane. Whistler: Butterfly,Wasp, Wit, Master of the Arts, Enigma. Bos-on,

1907.Whistler. Boston, 1906. (Spiritof the

Age Series.)Mansfield, Howard. * A Descriptive Cata-ogue

of the Etchings and Dry-points of JamesAbbott McNeill Whistler. Chicago, CaxtonClub, 1909.Mauclair, C. De Watteau a Whistler. Paris,1905.MacColl, Donald Stewart. * Nineteenth

Century Art; James M'Neill Whistler. Pp.154-158. Glasgow, 1902.XXII


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BIBLIOGRAPHY

McSpadden', J. Walker. * Famous Paintersof America. Pp. 221-271. New York, 1907.Menpes, Mortimer. * Whistler as I KnewHim. London, 1904.Moore, George. * Modern Painting. Pp.1-24 and 256-7. London, 1898.MuTHER, Richard. * History of ModernPaintings. Vol. 4; pp. 1-44. London, NewYork, 1907.Pattison, James William. * Painters SinceLeonardo. Pp. 202-206. Chicago, 1904.Pennell, E. R. and J. *The Life of JamesMcNeill Whistler. London, 1908.RosETTi, William Michael. Fine Art, ChieflyContemporary. Vol. 3; pp. 645-664. NewYork, 1896.Singer, Hans W. * James McNeill Whistler.Berlin, 1904. London, 1905. (Langham Series).Studio. * Whistler Portfolio. London, 1905.Symons, Arthur. * Studies in Seven Arts.Pp. 1 21-148. New York, 1906.Thomas, Ralph. Catalogue of the etchingsand dry-points of James Abbott Macneil Whis-ler.

London, 1874.TucKERMAN, H. T. * Book of Artists. Pp.485-486. New York, 1867.

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Victoria and Albert Museum. The Etch-ngsof J. McN. Whistler. (Catalogue.) Lon-on,1905.

VosE, George L. Sketch of the Life andWorks of George W. Whistler, Civil Engineer.Boston, 1887.Way, Thomas R. * Mr. Whistler's Litho-raphs.

London, 1896.Way, R. and Dennis G. R. * The Art ofJames McNeill Whistler; An Appreciation.London, 1903.

Wedmore, Frederick. * Whistler's Etching:A Study and a Catalogue. London, 1886.* A Note on the Etchings by Whistler

Exhibited at the Galleries of Obach Com-any,London, 1903.Four Masters of Etching (Whistler, Le-

gros, Seymour Haden and Jacquemart). Pp.28-39. London, 1883-89.

* Whistler and Others (24 essays). Lon-onand New York, 1906.

Whistler, J. A. M. Eden v. V/histler. TheBaronet and the Butterfly:A Valentine with aVerdict. Paris, 1899.

* The Gentle Art of Making Enemies.London, 1890. (New edition, 1892, includes:XXIV


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BIBLIOGRAPHY

Mr. Whistler's Ten O'Clock; Whistler v. Rus-kin; The Painter-Etcher Papers, and The Noc-urnes,

Marines and Chevalet Pieces.)Nocturnes, Marines and Chevalet Pieces.

London, 1892.The Paddon Papers; or The Owl and the

Cabinet. London, 1882.The Piker Papers.* Mr. Whistler's Ten O'Clock. London,

1888.* Whistler v. Ruskin; Art and Art

Critics. The White House, Chelsea, London,December, 1878.

Whistler Album. (20 photographs).Paris, 1892.

Wilde V. Whistler: being an AcrimoniousCorrespondence. London, 1896.

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The Morning Call. There are four etchings ofAnnie (W. 2, 15, 24, and 57). The etching ofThe Music Room (W. 26) is an entirelydifferentcomposition, showing the Haden family in thesame room.The painting was shown at the Goupil GalleryExhibition in 1892 (No. 12), when it was lentby Mme. Reveillon; it was in the Memorial Ex-ibitions

at Boston (No. 15) and Paris (No. 7).An illustration appears in Pennell, v. i, p. 90.Oil on canvas; H. 37 , W. 29 .

2 BLUE AND SILVER:the blueWAVE BIARRITZ

LENT BY ALFRED ATMORE POPE

The blue wave breaks over a reef of brownrocks. Above is a lightsky with broken drift-ng

clouds. Signed, IVhistler 1862, on the rocksin the foreground, to the left.Whistler was one of the group who went toBonvin's studio in 1858 to work from themodel under the direction of Courbet and themaster's influence is seen in this picture.It was included in the Memorial Exhibitions atBoston (No. 54), London (No. 29) and Paris(No. 55). In Leonce Benedite's plates from theParis Memorial Exhibition it was reproducedas No. XXIX.Oil on canvas; H. 24I , W. 34 .

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WHISTLER EXHIBITION, NUMBER 3

3 SYMPHONY IN WHITE, I:THE WHITE GIRL

LENT BY JOHN H. WHITTEMOREIt is the full length, life size figure of a youngwoman, turned slightly to the left. She isdressed in white and stands on a white furrug that lies on a white and blue carpet, infront of a white curtain. Her eyes are gray andher dark auburn hair hangs about her face; inher left hand she holds, loosely,a singlewhiteflower, while pansies, lilacs and other flowersare scattered on the rug and carpet.It is signed on the right at the top, IVhistler,1862. The frame was designed by Whistlerand decorated with an imbricated design; thebutterfly signature is on the right-hand sideabove the center. On the back of the frame inthe artist's handwriting: /. A. McNeill Whis-ler,

2 Lindsey Houses, Chelsea, his address from1866 to 1878.The model for this was Jo Joanna Heflfernan,Mrs. Abbot, an Irish woman of little educationbut of keen intelligence,who, while sittingtoWhistler, learned much about painting and be-ame

well read. She played an important partin Whistler's life during the early London yearsand was with him in France in 1 86 1-2, goingto Paris in the winter to give him sittingsforThe White Girl, which he painted in a studio

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in the Boulevard des Batignolles. He alsopainted her, although perhaps not that winter,as La Belle Irlandaise, as Jo, Note Blanche andas The Little White Girl (No. 6 in this exhibi-ion).

There is also a dry-point of Jo (W. 64)dated 1861, which shows her with streaminghair.This picture was his first attempt to carry outthe principle afterward set down in his TenO'clock, that the artist is born to pick andchoose, and group with science, the elementscontained in nature, that the result may bebeautiful. It was an arrangement of whiteagainst white which was not understood at thattime. The White Girl was sent to the RoyalAcademy of 1862 but was rejected. The man-ger

of the Berners Gallery exhibited it at theopening exhibition in the summer of 1862 andthe AtheTiceum said that it was

the most prom-nentpicture in the collection, though not the

most perfect. Able as this bizarre productionshows Mr. Whistler to be, it is one of the mostincomplete paintings we have ever met with. Awoman

in a quaint morning dress of white, withher hair about her shoulders, stands alone in abackground of nothing in particular. But forthe rich vigor of the textures, we might con-eive

this to be some old portraitby Zucchero,or a pupil of his, practicingin a provincial town.The face is well done, but it is not that of Mr.

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WHISTLER EXHIBITION, NUMBER 3Wilkie Collins's Woman in White. This broughtforth what is beHeved to be the first of Whis-ler's

long series of letters to the press. Hewrote that he had no intention of illustratingMr. Wilkie Collins's novel, which, it happened,he had never read, and that his picture repre-ented

merely a girlin white standing in frontof a white curtain.After its Berners Street success. The WhiteGirl was chosen by Whistler for the Paris Salonof 1863, where it was rejected; but it was shownin the Salon de Refusees, arranged by order ofNapoleon III in the same building as the officialSalon. Zola, in L'CEuvre, says that the crowdlaughed in front of La Dame en Blanc. Des-noyers thought it the most remarkable picture,at once simple and fantastic with a beauty sopeculiar that the public did not know whetherto think it beautiful or ugly. Paul Mantz wrotein the Gaiette des Beaux-Arts that it was themost important picture in the exhibition andcalls the picture a Symphonic du Blanc, someyears before Whistler adopted that title. TheWhite Girl was the first of the Symphonies inWhite ; No. II is The Little White Girl lent byMr. Arthur H. Studd (No. 6 in this catalogue),and Symphony in White No. Ill is the picturenow known as The Two Little White Girls,which belongs to Mr. Edmund Davis.The White Girl was shown in the American sec-

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tion of the Paris International Exposition of1867; the title Symphony in White No. 1: TheWhite Girl was used for the first time when itwas in the International Exhibition at SouthKensington, London, in 1872; it was lent toThe Metropolitan Museum of Art from July,1894, to December, 1895; and was shown in thePortrait Show held at the National Academyof Design, New York, in 1898. It was in theMemorial Exhibitions in Boston (No. 71), inLondon (No. 37) and in Paris (No. 4). Anillustration appears in Pennell, v. i, p. 112.Oil on canvas; H. 84^ , W. 421 .

4 THE LANGE LEIZEN OFTHE SIX MARKS: purple andROSE

LENT BY JOHN G. JOHNSONA young woman in Japanese costume is seatedand with her left hand holds on her lap a blueand white vase of the shape known in Hollandas the Lange Leizen ; the six marks refersto the potter'smark on the bottom of the vase.The sleeve of her kimono covers her raised righthand in which she holds a brush. Her skirt isblack with a delicate design in color; the kimonohas bright flowers on a cream-white ground andis lined with rose color; a band of rose, edgedwith black, finishes the sleeve. A black scarf

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WHISTLER EXHIBITION, NUMBER 4is tied around her hair and falls over eachshoulder. There are several blue and whitevases, an Oriental carpet is on the floor, to theright is a red covered table, and back of her achest.Signed, Whistler 1864, on the green and orangependants in the upper right corner. The framewas designed by Whistler and decorated by himwith Chinese frets and the six marks.The Lange Leizen, The Gold Screen, The Bal-ony

and the Princesse du Pays de la Porce-laine are the important pictures with Japanesemotives that were painted between 1862 and1866 in the studio at No. 7 Lindsey Row, amodest little second-story back room. Themethod was that of his earlier works, the paintthickly laid on, with the richness he later sacri-iced

to other and more subtle qualities. Thedifference was in his subjects. It was notJapan, however, that Whistler wanted to paint he clothed his English models in Easterndress and produced beautiful color and formwith Japanese detail. He was one of the firstto appreciate the beauty of Chinese porcelainsand owned choice pieces.This picture was in the Royal Academy of 1864,and in the Goupil Gallery Exhibition of 1892(No. 5). An illustration appears in Pennel, v.I, p. 122.Oil on canvas; H. 35I , W. 23^ .

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5 HARMONY IN PURPLE ANDgold, ii: the golden screen

lent by the national gallery of art(freer collection)

A young woman in Japanese costume is seatedon a brown rug, her head seen in profile to theright, as she examines a Japanese print held inher left hand. She wears a purple underkimono with multicolored flowers and bor-ered

with a vermilion scarf, and a green obiis around her waist; her outer kimono is whitewith a red flowered design. To the left is atea box, some roses, and in a blue and whitevase there are pansies; to the right, Hiroshigeprints are scattered over the floor and beyondis a folding chair; the background consists of afolding screen with Japanese houses and figurespainted on a gold ground. Signed, IVhistler1864, at the left on the rug near the box.It was exhibited at the Royal Academy in1865; was lent by Cyril Flower to the GoupilGallery Exhibition of 1892 (No. 14), and was inthe Paris Memorial Exhibition (No. 8). Anillustration appears in Pennel, v. 11, p. 124.Oil on panel; H. 19^, W. 26 .


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iure, two verses of which were inserted in thecatalogue.The painting was lent by Gerald Potter to theGoupil Gallery exhibition in 1892 (No. 33); itwas at the Venice International Exposition of1895; in the American section of the ParisInternational Exposition of 1900, and at theMemorial Exhibitions in Boston (No. 28), andParis (No. 5). It is illustrated in Pennell, v.II, p. 252.Oil on canvas; H. 29/, W. 19 .

7 NOCTURNE BLUE AND GOLDvalparaiso


In the foreground, stretchingout into the water,is a pier, with many people walking about;small boats to the right and beyond a fleet ofships, their lights and masts reflected on thewater. The distant shore is mountainous andthe sky above is light blue. To the extremeleft a shower of sparks falls from a rocket.This is one of the few pictures which remain ofthose painted during Whistler's trip to Chili,where he and his brother went in 1866 with theidea of joining the insurgents. When theyreached Valparaiso the rebellion had ceased.This picture was lent to the London Memorial

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WHISTLER EXHIBITION, NUMBER 8Exhibition (No. i6) by George McCulIoch. Anillustration appears in Way, p. 62.Oil on canvas; H. 29^ , W. 19 ''.

8 SYMPHONY IN GRAY ANDGREEN: the ocean

LENT BY RICHARD A. CANFIELD

A broad expanse of water with several vesselsat anchor. To the left the end of a pieragainstwhich waves are breaking; to the right branchesand leaves are silhouetted against the water.The sky is green-gray and lightestat the hori-on.

Butterfly monogram is in a dark cartouche tothe right near the bottom. The frame was de-igned

and decorated by Whistler; the butterflymonogram is repeated on the right hand side ofthe frame, a little higher than the signature onthe canvas.

This is the earliest picture in the exhibitionwherein the butterfly monogram appears.Whistler began to feel that a large signature,such as he used in his early pictures,was a dis-ordant

note. In the Golden Screen the signa-ureis interlaced and placed in a decorative

way somewhat after the Japanese fashion.With the symphonies, nocturnes and largeportraits the butterfly began to be used. It

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was made from the interlacing of the lettersJ. M. W. into a monogram, which graduallyevolved into the butterfly in outline, thenshaded, and finally a stencil-like silhouette.It was introduced as a note of color, as im-ortant

in the picture as anything else. Attimes it was put in almost at the first paintingto judge the eifect; was scraped out with therest, and put in again and again until he securedthe proper efi'ect. The butterfly was used as asignature on prints and in his correspondence,on invitations and on catalogues; in The GentleArt of Making Enemies it was elaborated inmany ways and a sting was added.This is one of the picturespainted at Valparaiso;its first title was The Pacific.The picture was lent to the Goupil Gallery Ex-ibition

in 1892 (No. 15) by Mrs. Peter Taylor;it was in the Salon the same year and was inthe Memorial Exhibitions at Boston (No. 74)and Paris (No. 62).Oil on canvas; H. 31 , W. 38I .

9 NOCTURNE: blue and silver ^ B O G N O R


In the foreground is the beach with a silveryline of low waves; the silhouettes of two figures12


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WHISTLER EXHIBITION, NUMBER 10

are discerned to the left. Beyond is a calmdeep blue sea with four sail-boats, two of themwith lights;the blue sky is dotted with stars.Butterfly monogram, in white, is on a rail postin right-hand lower corner.This picture was lent by Alfred Chapman to theGoupil Gallery Exhibition in 1892 (No. 24) andwas in the Memorial Exhibitions at Boston (No.65) and Paris (No. 68).Oil on canvas; H. 19^ , W. 33 i .

10 PORTRAIT SKETCH OF MR.WH I STLER


Half length portrait,the figure turned to theright and the face in three-quarter view. Hewears a loose black coat, with low white collarshowing, and a soft black hat under which hisgray lock is seen. Dark background.The earliest known self-portraitn oil is the onepainted in Paris about 1859, the Whistler witha Hat (illustrated in Pennell, v. i, p. 190and engraved by Guerard), which was lent bySamuel P. Avery to the Memorial Exhibitionsin Boston (No. 55) and Paris (No. i). WilliamMichael Rosetti in his diary for February 5,1867, mentions seeing in Whistler's studio aclever, vivacious portrait of himself, believed

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to be the one that belonged to the late GeorgeMcCullough and which appears as the frontis-iece

to Pennell, v. ii.The portrait sketch in this exhibition belongsto about this period or a little later and is re-roduced

for the first time.In 1874 Whistler wrote to Fantin-Latour aboutstudies for a big picture on the plan of thatartist's Homage a Delacroix. Whistler was tobe the central figure with the White Girl on acouch, La Japonaise walking about, and AlbertMoore and Fantin to give the black note. Oneof the studies. Whistler in his Studio, is illus-rated

in Pennell, v. i, p. 184. In 1894 he waspainting a portrait of himself in a white jacketwhich, according to the Pennells, was changedinto a dark coat after his wife's death. A fulllength in long overcoat was in the Paris Expo-ition

of 1900 under the title of Brown andGold; a half-length belonging to George W.Vanderbilt and was in the Memorial Exhibi-ions

in Boston (No. i) and Paris (No. 29)under the same title of Brown and Gold, and

reproduced in Leonce Benedite, plate i, whilea pen and ink drawing for it is shown inPennell, v. 11, p. 202.There are several etched self-portraits.A veryearly one (W. i), one dated 1859 (W. 52) and theWhistler with the White Lock (W. 142), thefrontispiece to Ralph Thomas' Catalogue of

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WHISTLER EXHIBITION, NUMBER II

Etchings and Drypoints of Whistler is anetching very similar to the McCullough portraitand is dated 1874. A chalk drawing belongingto Thomas Way is illustrated in Pennell, v. i,p. 136.Oil on canvas; H. 27^', W. 2 if.

II PORTRAIT OF F.R.LEYLAND


Full length, life size figure,slightly turned tothe right, the face full front. His hair and fullpointed beard are brown; he wears black even-ng

dress with a white ruffled shirt; the righthand rests on the hip and over the left arm hecarries a gray overcoat; a silver buckle showson the right shoe. Dark background and grayfloor.Mr. Frederick Leyland was one of Whistler'searly patrons, and between 1872 and 1874 hepainted portraitsof both Mr. and Mrs. Leylandand of their four children. Whistler made longvisits at Speke Hall, Leyland's place near Liver-ool,and the big canvases traveled with him,back and forth between Speke Hall and London,sittingsbeing given in both places. Etchingsand dry-points that record these visits are:Speke Hall (W. 86, dated 1870, and Sup. 269),Speke Shore (W. 119), Shipping at Liverpool

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(W. 84) and The Dam Wood (W. 120). It wasfor Mr. Leyland's London house in Prince'sGate that the Peacock Room was decorated.In this portrait Whistler for the first time sup-ressed

the background and put the figure intothe atmosphere in which it stood, without anyaccessories; the problem was to make the figurestand as far within the frame as the artist stoodfrom it when he painted it. Mr. Graves, one ofWhistler's assistants, says of this portrait thathe got into an awful mess over the legs andfinallyhad a model to pose for it nude. Anetching (W. 93, inscribed Mr. Frederick Ley-land) shows only the upper part of the body.Mr. Leyland's portraitwas finished in the winterof 1873 and was shown in Whistler's Pall MallExhibition of 1874. It was lent to the LondonMemorial (No. 100) by Mrs. Val Prinsep, and isillustrated in the London catalogue, p. 1 18. Asketch for the portrait was lent to the LondonMemorial (No. 97) by Charles Conder.Oil on canvas; H. 74 , W. 35 .

12 NOCTURNE IN BLACK ANDGOLD: THE FALLING ROCKET

LENT BY MRS. SAMUEL UNTERMYER

A dark blue night scene with fireworks in apark. In the foreground is a path with a grassplat to the right; on the left a mass of foliage

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without costs. During the trial Whistler gavethe following definition of a Nocturne: 1 haveperhaps meant rather to indicate an artistic in-erest

alone in the work, divesting the picturefrom any outside sort of interest which mighthave been otherwise attached to it. It is anarrangement of line, form and color first,and Imake use of any incident which shall bringabout a symmetrical result. Among my worksare some night pieces; and 1 have chosen theword 'nocturne' because it generalizes andsimplifiesthe whole set of them. After Whis-ler

had stated that he worked about two dayson The Falling Rocket, the Attorney Generalsaid: The labor of two days, then, is that forwhich you ask two hundred guineas? to whichWhistler replied:No I ask it for the knowl-dge

of a lifetime.Whistler recorded all the details of the trial ina brown-covered pamphlet published by him inDecember, 1878, under the title of IVhistler v.Ruskin: Art and Art Critics. This was includedin the later editions of his Gentle Art of MakingEnemies.The picture was in the Goupil Exhibition of1892 (No. 10) and the Memorial Exhibitions inBoston (No. 84) and Paris (No. 66). An illus-ration

appears in Pennell, v. i, p. 232.Oil on panel; H. 23 , W. 17I .

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WHISTLER EXHIBITION, NUMBER I3

13 ARRANGEMENT IN BLACKAND BROWN: rosa corder


Full length, life size, standing figure with herback toward the spectator, her body turned tothe right and her face seen in profile. Her lightbrown hair is tightly coiled. She wears a blackdress and a black coat edged with fur, withwhite showing at the neck and down the front.The right hand, hanging at her side, holds abrown felt hat with flowing brown feather.The background is dark, almost black; thefloor is gray-brown.Jacque Blanche, the painter, has said thatWhistler once saw Miss Rosa Corder in herbrown dress pass a door painted black and wasstruck with the effect of color. The picturewas begun at 2 Lindsey Row, before 1876, as acommission from Charles Augustus Howell,Whistler's man of affairs. It was sold atChristie's with Howell's other effects in April,1881, for 130. In 1902 Whistler saw to thecleaning of this picture when it was purchasedby the present owner from Graham Robertson.The picture was exhibited at the GrosvenorGallery in 1879; at the Salon des Artistes Fran-fais in 1890; International Society of Sculptors,Painters and Gravers in 1898 (No. 178), and inthe Memorial Exhibitions at Boston (No. 25)

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and Paris (No. 21). An illustration appears inPenneli, v. i, p. 296.Oil on canvas; H. 75 , W. 36 .

14 PORTRAIT OF FLORENCELEY LAN D

LENT BY THE BROOKLYN INSTITUTE OF ARTSAND SCIENCES

Full length, life size, standing figure,seen fullface. She wears a gray dress with a black bowwhere the fishu meets; white ruffles fall overher black gloves and a handkerchief is heldin her right hand. Her round, black hat istrimmed with gray. The background is almostblack, the floor slightlygray.Whistler made a dry-point of Florence Leyland(W. 96) in 1873, showing her in early girlhoodwith a hoop in her hand; comparing that withthe apparent age of the subject of this portraitit must have been painted about 1877. Flor-nce

Leyland, the youngest daughter of F. R.Leyland (see No. 1 1 in this catalogue), was alsothe original Blue Girl or Baby Leyland, a fulllength three times attempted and once com-leted

but destroyed by Whistler. Severalstudies are known, a pen-and-ink sketch isillustrated in Duret, p. 53.After the death of Mr. Leyland in 1892, theportrait became the property of Florence Ley-

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WHISTLER EXHIBITION, NUMBER 1 5land, who had married Val Princep, the painter.Her husband died in 1905 and it was purchasedthe following year for the Brooklyn Instituteof Arts and Sciences.Oil on canvas; H. 74 , W. 35 .

15 THE WHITE SYMPHONY:three girls


Three women dressed in white are in a Japanese-ikegarden, the blue sky showing between the

white wall and the white awning. In the cen-er,a kneeling figure wearing a red cap is

tending a pink-blossomed bush in a red potraised on a green trellis. The girlon the left,leaning over, has a pink drapery and a purplefan is in her hand. To the rightstands a figurewearing a red cap and holding a Japanese para-ol

over her right shoulder.This is one of the Six Schemes or Projects, ofpracticallythe same size, which were probablythe studies for a decoration for Mr. Leyland thatwas never executed. William Michael Rosetti,the writer, in his diary for July 28, 1867, noted:Whistler is doing on a largish scale, for Ley-land, the subject of women with flowers.This picture was in the Memorial Exhibitionsat Boston (No. 19) and Paris (No. 11). A simi-

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lar composition called Three Figures, Pink andGray was lent by Alfred Chapman to the Lon-on

Memorial (No. 399). There are severaletchings and lithographs in which the separatefiguresof the Projects may be found.Oil on academy board; H. lyf , W. 23^ .

16 NOCTURNE: blue and sil-er battersea reach


A foggy evening on the Thames. In the fore-round,on the right,are boats with folded sails.Through a blue-gray veil of mist that covers

river and sky, is seen the irregularline of dockswith points of light.This picture was lent by W. G. Rawlinson tothe Goupil Gallery Exhibition in 1892; it wasin the Memorial Exhibitions at Boston (No.63) and Paris (No. 70).Oil on canvas; H. 19^ , W. 29^'.

17 THE JAPANESE DRESSlent by HOWARD MANSFIELD

The standing figure of a young woman, herright hand crossing her body to hold over herleft shoulder a yellow Japanese parasol. Herleft hand grasps the kimono, which is flesh-

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WHISTLER EXHIBITION, NUMBER l8colored with a pattern in peacock-blue and islined with yellow. The skirt of gray-bluewith touches of light blue and bright rose,is caught at the waist with a vermillion obi.On her yellow hair is a flesh-colored cap with apeacock-blue band and a touch of rose-color.The butterfly monogram, shaded with peacock-blue, is placed to the left of the figure on a lineslightly above the knees. Along the right-hand edge, in pencil,and almost covered by thepastel, is the inscription 2 Lindsey Houses,Chelsea. Whistler moved to No. 2 LindseyRow, Chelsea, late in 1866 and the house wassold in 1878.It was in the Boston Memorial Exhibition(No. 116).Pastel on brown paper; H. 10 , W. 6y.

18 ANNABEL LEE


A female figurestanding near the sea with herleft hand on a railingand her back toward thespectator. She is dressed in gauzy white heldwith yellow bands; an iridescent blue andgreen scarf floats from her arms and a purplecap covers her light hair. Beyond is a wideexpanse of lightblue sea and sky. In the fore-round,

purple irises rise from the green lawn.23


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Butterfly monogram, shaded with purple, isplaced in the water to the left.There is an oil painting of the same subject,never exhibited. Whistler rarely gave literarytitles to his pictures,the only other one knownbeing the EfFie Deans in the Rijks Museum atAmsterdam.This picture was lent by Thomas Way to theLondon Memorial Exhibition (No. 63). Anillustration appears in Pennell, v. 11, p. 92.Pastel on brown paper; H. i2| , W. 6f .

19 THE DOORWAY, VENICELENT BY RICHARD A. CANFIELD

A courtyard with two gaily dressed women ata well. Through the doorway is seen a passage,a canal and the houses on the other bank.Above the doorway are three windows withgreen shutters and railings;in two of the win-ows

women are leaning over the railing.Butterfly monogram, shaded with brown, placedto the right below the center.Whistler's only visit to Venice was from Sep-ember,1879 to November, 1880, and duringthat time he executed many etchings and pas-els.

His method was to draw with blackchalk on brown paper and then faintlysuggestwith pastels the colors of the old walls, thegreen shutters, the women's bright dresses.

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WHISTLER EXHIBITION, NUMBERS 24 AND 25bition (No. 155). An illustration appears inGary, p. 198.Pastel on brown paper; H.6i , W. lof .

24 NOCTURNE, VENICELENT BY RICHARD A. CANFIELD

In the foreground a line of boats; lightsgleamon the distant shore and are reflected in thewater.Butterfly monogram, shaded, placed to theright near the bottom.This picture was in the Paris Memorial Exhi-ition

(No. 154).Pastel on brown paper; H.yJ , W. lof .

25 LONGVENICE


View of Venice seen from, the lagoon; vesselsat anchor; deep blue water reflectingseveralcampaniles. A similar composition appears inthe etching, Little Venice (W. 149), which wasone of the Venice set published by the Fine ArtSociety, London, 1880.Butterfly monogram, in outline, on lower edgeto the right of the center.This picture was in the Paris Memorial Exhi-ition

(No. 152).Pastel on brown paper; H.4^ , W. lof*.

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56 ARCHWAY, VENICELENT BY HOWARD MANSFIELD

A red and orange wall broken by an archway,within which a child is leaning against the leftwall; another figure stands in the center of thearchway. A woman, wearing an orange shawl,stands in the open court seen through the arch-ay;

beyond her, on the right,is a green shutterand on the left a door with a glass fan-light.This picture was in the Boston Memorial Exhi-ition

(No. 127).Pastel on brown paper; H. i U , W. 7V'.

27 THE ISLES OF VENICElent by the national gallery of art

(freer collection)The blue sea is dotted with white sails and a

large brown one is seen to the right; the Islesare silhouetted against a lightsky.Butterfly monogram, shaded in violet, in lowerright corner.Pastel on brown paper; H. 3} , W. lof.

28 VENUS ASTARTElent by the national gallery of art

(freer collection)A nude standing figure, seen full front, whoholds back a green veil. There is a rose-coloredband in her brown hair.

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WHISTLER EXHIBITION, NUMBER 29Butterfly monogram, shaded with rose, placedto the right.This picture was in the Paris Memorial Exhi-ition

(No. 132).Pastel on brown paper; H. lof , \V. 6f'^

29 ARRANGEMENT IN BLACK:PORTRAIT OF SENOR PABLO DESARASARTE

LENT BY THE CARNEGIE INSTITUTE, PITTSBURG

A full length, almost life size, standing portraitof the musician. He is in evening dress andholds his violin and bow in the act of tuning.The background is dark gray, almost black, andthe floor is a lightergray.Butterfly monogram, in gray silhouette on thedarker ground, is placed to the right abouthalfway up. Original frame designed anddecorated by Whistler; his butterfly monogramis placed on the right-hand side.This portrait was seen in the studio at 13 TiteStreet, Chelsea, by Joseph Pennell when, in1884, he visited Whistler for the first time. Hesays that what Whistler was trying to do wasto paint the man on the shadowy concert plat-orm

as the audience saw him. Sarasarte isintended to look small, less than life-size,as hewould appear when seen away up on the con-ert

stage. Whistler in speaking of this por-:?9


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trait to Sidney Starr referred to its being Allbalanced by the bow.It was exhibited for the first time at the Societyof British Artists in 1885; was in the Paris Salonin 1891, and in the 1897 exhibition of theCarnegie Institute, Pittsburg, having been pur-hased

in 1896. It was shown in the Memor-alExhibitions in Boston (No. 53), London (No.

19), and Paris (No. 20). An illustration of thisportraitand also of a pen-and-ink sketch for itappear in Pennell, v. 11, p. 4.Oil on canvas; H. 84 , W. 40 .

30 GRAY AND SILVER: theTHAMES

LENT BY ROSALIND BERNIE PHILIP

A view, from the embankment in the fore-round,of the quiet river reflecting few smallboats and the warehouses and tall chimneys on

the opposite shore. There is a silverygray sky.Oil on canvas; H. 23 '-,W. 17I .

31 SYMPHONY IN VIOLET ANDBLUE

LENT BY ALFRED ATMORE POPE

Rolling sea with white-capped waves and threesailboats on the horizon. Blue sky withbroken storm clouds.

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WHISTLER EXHIBITION, NUMBER 32Butterfly monogram, a dark silhouette, on thewater near the left corner.This picture was in the Salon of 1894 althoughnot catalogued. It was shown in the BostonMemorial Exhibition (No. 30).Oil on canvas; H. ig\\ W. 28''.

32 ARRANGEMENT IN BLACKAND GOLD: le comte robert

LENT by RICHARD A. CANFIELD

Full length, life size, standing figure turned tothe right with his face almost full front. Hewears a black dress suit; a dark gray overcoatlined with silverygray is thrown over his leftarm; in his gloved hand he holds a slenderbrown cane. The background is dark, almostblack; the floor a golden brown.Butterflymonogram, in brown silhouette againstdarker background, is placed to the left half-ay

up.This portraitof Count Robert de Montesquiou-Fezensac was painted in 1890 and 1891; therewas a second one, never finished. Edmond deGoncourt in his journal for July 7, 1891, wrote:Montesquiou tells me that Whistler is nowdoing two portraits of him: one is in eveningdress with a fur coat under his arm, the otherin a great gray cloak, with high collar at hisneck just suggested, a necktie of a mauve not

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to be put into words, though his eyes expressthe ideal color of it.Whistler undertook to make a lithograph ofthe Q)mte Robert but failed, saying that itwas impossible to produce the same master-iece

twice over as difficult as for a hen to laythe same egg twice.The present owner purchased this portraitfromthe Comte de Montesquiou early in 1903. Itwas shown in the Boston Memorial Exhibition(No. 39). An illustration appears in Duret,p. 174.Oil on canvas; H. 81^ , W. 33 .

33 L'ANDALUSIENNE:motherof pearl and silver

lent by john h. whittemore

A full length, life size, standing figure,her backtoward the spectator, the body half turned tothe rightand the face in profile. Her left handrests on her hip; the right hangs at her side andlightly holds her dress. Her hair is almostblack and is dressed in a tight knot. She wearsa dress of black net over gray with transparentyoke and full elbow sleeves. The backgroundis lilac-gray,the wall being much lighter thanthe floor.Butterfly monogram, a large dark silhouette,placed to the right near the center.

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35 BLUE AND ROSE: THE OPENFAN


The figureof a young girlin a rose-colored dresswalking toward the left. A blue cap is on herhead; in her right hand she holds an open whiteand blue fan and her left hand is raised to hershoulder. To the right is a pink shrub in ablue vase.Butterfly monogram, shaded in dark blue, isplaced to the left.Pastel on brown paper; H. lo^ , W. 6f .

36 ROSE AND RED: the littlePINK CAP


A woman standing, full face, her rose and redrobe thrown back disclosingthe body. In herarms she holds a child wearing a pink cap. Afew lines in the background convey the im-ression

of sea and beach.Butterfly monogram, shaded in red, placed tothe right.This picture was shown at the New EnglishArt Club, London, in 1889, and it was in the

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WHISTLER EXHIBITION, NUMBERS 37 AND 38Memorial Exhibitions at Boston (No. 130) andParis (No. 144).Pastel on brown paper; H. 10^ , W. 6| .

37 THE MASTER SMITH OFLYME REGIS

LENT BY THE MUSEUM OF FINE ARTS, BOSTONThe half length of a man with folded arms; thehead and figure turned three-quarters to theright. He has very dark hair and mustacheand wears a dark gray overcoat and a lightgrayshirt. The background is dark brown.Butterfly monogram, a dark silhouette, at cen-er

of righthand edge.Whistler was at Lyme Regis, England, duringthe autumn of 1895. This picture was shownin the Memorial Exhibitions in Boston (No.36), London (No. 24) and Paris (No. 27). Anillustration appears in Pennell, v. 11, p. 170.Oil on canvas; H. 19I , W. 1 1^ .

38 THE LITTLE ROSE OFLYME REGISLENT BY THE MUSEUM OF FINE ARTS, BOSTON'The half length portrait of a little girL seen fullface; her hands crossed in her lap. She has

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chestnut hair and wears a black dress and a redpinafore. The background is violet-brown.It was painted during the same season as theMaster Smith. Included in the Memorial Ex-ibitions

in Boston (No. 43), London (No. 26)and Paris (No. 42). An illustration appears inPennell, v. 11, p. 166.Oil on canvas; H. 19^ , W. 11 1 .

39 BLUE AND CORAL: theLITTLE BLUE BONNET

LENT BY HERBERT L. PRATT

The half length of a young girl,seated, her bodyturned three-quarters to the left and the facefull front. She has chestnut hair and browneyes that look straight at the spectator. Hergray-green dress is trimmed with peacock-blue;she wears a bonnet to match and a tulle bow ather throat.Butterfly monogram, a coral-red silhouette, tothe left.The picture was in the Exhibition of the Inter-ational

Society of Sculptors, Painters andGravers in London in 1896 (No. 182) and in theLondon Memorial Exhibition (No. 8). Anillustration appears in Pennell, v. 11, p. 220.Oil on canvas; H. 22 1 , W. 17 (oval).

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WHISTLER EXHIBITION, NUMBERS 4O AND 4I

40 VERT ET OR: le raconteurlent by the national gallery of art

(freer collection)Half length figure of a young boy seen fullfront, his left hand raised. He has brown eyesand thick brown hair; the black coat with brownlapel is open and shows a brown vest and whiteshirt. The background is dark olive.Oil on canvas; H. 19 , W. iif .

41 ROSE AND GOLD: the littlelady sophie of soho


A half length portrait of a young girl,seated,with face and figure turned three-quarters tothe left and her hands folded across her lap.Her eyes are dark gray and her dark brownhair hangs about her shoulders; she wears ablack dress. The background is pinkish-gray.Butterfly monogram, in dark silhouette, to theleft of the figure.This picture was included in the Memorial Ex-ibitions

at Boston (No. 83) and Paris (No. 37).An illustration appears in Pennell, v. 11, p. 208.Oil on canvas; H. 25 , W. 2of (oval).

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42 POUTING TOMLENT BY H. H. BENEDICT

The half length of a young girl,the face andfigure seen full front. She wears a black dresswith a white frill at the throat; a close-fittingblack cap rests on her light brown hair, whichfalls to her shoulders and is cut low across herforehead. The background is dark olive.Oil on canvas; H. 19^ , W. 12 .

43 LITTLE GREEN CAPlent by the national gallery of art

(freer collection)Half length of a little girl,seated, the figureturned three-quarters to the right and the facealmost full front. A yellow-green cap rests onher auburn hair. The background is olive-green.Butterfly monogram, a dark silhouette, on theright near the edge.Oil on canvas; H. 20 , W. 12 .

44 THE LITTLE FAUSTINAlent by the national gallery of art

(freer collection)Half length of a little girl seen full front, herhands folded in her lap. Her eyes are brownand her brown hair, parted in the middle, falls

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WHISTLER EXHIBITION, NUMBERS 45 AND 46about her shoulders. She wears a dark dresscut low at the neck, disclosinga stringof beads.The background is dark olive-gray.The picture was at the Paris Memorial Exhi-ition

(No. 43).Oil on canvas; H. 19 , W. i if .

45 LANAPOLITAINEiRosEETORLENT BY RICHARD A. CANFIELD

A bust portrait,full face, of a dark haired, darkeyed woman. She wears a rose colored dresswith dark trimming around a V-shaped openingat the throat, which shows a single row of coralbeads. Dark olive background.Butterflymonogram, scarcelymore than a darkshadow, near the center of right-hand edge.The model for this was probably Mme. CarmenRossi, who, as a child, had posed for Whistler.She lived in Naples for some years and then re-urned

to Paris and in 1898 opened an artschool at which Whistler gave criticisms.Oil on canvas; H. 19I , W. i if .

46 GRAY AND SILVER: LA PETITES O U R I S

LENT BY ROSALIND BERNIE PHILIP

The bust portraitof a young woman seen almostfull face. She wears a dark gray dress and about

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her neck is a gray feather boa held by her righthand.Butterfly monogram, a dark silhouette, isplaced on the dress at the left.This picture was shown in the Memorial Ex-ibitions

in Boston (No. 27) and Paris (No. 51).Oil on canvas; H. 19^^ W. i if .

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INDEXNO.Falling Rocket, The (Nocturne in Black

and Gold) 12Ferry, The, Venice 21Gray and Silver: The Thames

... 30Gray and Silver: La Petite Souris

.46

Golden Screen, The (Harmony in Purpleand Gold, 11) 5,

Harmony in Green and Rose: The MusicRoom ij

Harmony in Purple and Gold, II: TheGolden Screen ^

Isles of Venice, The 27Japanese Dress, The 17Lange Leizen of the Six Marks: Purple

and Rose 4Leyland, F. R., Portrait of ...11Leyland, Florence, Portrait of

. 14Little Blue Bonnet, The (Blue and Coral) 39Little Faustina, The 44,Little Green Cap 4,3,Little Lady Sophie of Soho, The (Rose and

Gold) 41Little Pink Cap, The (Rose and Red)

.36

Little Rose of Lyme Regis, The . 38Little White Girl, The (Symphony inWhite, II) 6

Long Venice 25Master Smith of Lyme Regis, The

. 37Music Room, The (Harmony in Green and

Rose) \42


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INDEXNO.Napolitaine,La (Rose et Or)

... 45Nocturne: Blue and Silver Battersea

Reach 16Nocturne: Blue and Silver Bognor

. 9Nocturne in Black and Gold: Falling

Rocket 12Nocturne: Blue and Gold Valparaiso

. 7Nocturne: Venice 24Ocean, The (Symphony in Gray and

Green) 8Open Fan, The (Blue and Rose)

. . 35Petite Souris, La (Gray and Silver)

. .46

Pouting Tom 42Purple and Rose (The Lange Leizen of

the Six Marks)... . . 4

Raconteur, Le (Vert et Or)... 40

Rose and Red: The Little Pink Cap.

36Rose and Gold: The Little Lady Sophie

of Soho 41Rose et Or (La Napolitaine)

... 45Sarasarte (Arrangement in Black) . . 29Street, A, Venice 22Study in Red, A 34Symphony in Gray and Green: The

Documents

Paintings in Oil and Pastel