TH

METROPOLITAN
O F A RT

MUSEUM

PAINTINGS
AND PASTEL

IN

OIL

BY

JAMES

A.

McNeill

WHISTLER

NEW

YORK

MARCH

15
MCM

TO

AY

SHLF
ARTS oc

ARTS ^

"5031 !0Z

INTRODUCTION The aims

by Whistler presentexhibition of paintings

to

idea of the scope givea comprehensive and development of his work in color. Only have been included to satisfacenough pictures torily the Gallery fill of Temporary Exhibitions, and
to

in their selection the

attempthas

been made

s as exemplifythe painter accomplishment at the various stagesof as possible adequately

his

career.

Owing

to the limited

space

at

our

water-colors disposal for the exhibition, been included,as it

was

have not their

that,with feared

delicate and evanescent tone, they exceedingly could hardlyhe seen in the close to advantage dominant oils and neighborhood of the more This is the first considerable exhibition pastels. that has been held in New of Whistler's paintings his etchings and lithographs have York, although been seen here. frequently The Museum its obligation gratefully acknowledges to those who, by their generous cooperation, have aided in forming this exhibition. These are: The National Gallery D. C. of Art, Washington, The Brooklyn Institute of {Freer Collection); Arts and Sciences; The Carnegie Institute of
V

U.C.LA.
ART

LIBRARY

THE

METROPOLITAN

MUSEUM

OF

ART

Pittsburgh; Mr.
A.

H.

H.

Benedict;

Mr.

Richard Mr.

Canfield; Johnson;
Mr.

Col. Mr.

Frank Howard

J. Hecker;
Mr.

John
Miss Atmore

G.

Mansfield; Alfred
Arthur

Rosalind

Bernie Herbert

Philip;
L. and

Pope;
Mrs.
more.

Pratt; Mr.
Mr. Museum

Studd;

Samuel The due

to

Uniermyer,
thanks Mr.

John
are

H. IVhitte-

of

the L.

larly particuwhose

Charles

Freer, without
aid the

continual could The

not

and have

sympathetic
taken has

exhibition

place.
been

catalogue
it not aid

prepared
service in

with the

view

to

making
also
an

only of
A

gallery but
work is

to the

and further study of the life

of
the

Whistler.

chronological biography description of

its execution listed. and His each

given,

pictures
is
a

are

and catalogued chronologically,

there
notes

short

picture

with

regarding
time other
in
a

inclusion work
was

in the shown

Whistler

exhibitions
to time current

from
and

in the

Royal Academy,
but this The

the Salon
is

exhibitions,
cases.

noted all

only

few

important

si^esare
ber num-

sight measurements.
is

Wedmore's

catalogue
an

given
has

when been

referring to
reproduced

etching. If reference
the illustrations

painting
in the The

oiie

is

entered, preferencebeing given

to

biography by
"

the Pennells. McNeill in Whistler"

authorised Life ofJames

E. R. and

by

Pennell,
.

published compiling
the

1908,

has

been
as

freelydrawn
have also the

upon

in

this volume,
ex-

catalogues of
VI

Memorial

INTRODUCTION

hibitions "IVorks

held

in

London McNeill The

and

Paris,

and

the

of James Cary.

Whistler,"

by

beth Elisa-

Luther

self portrait sketch

the

of
this

JVhistler, which book, is

This
now

forms
been

frontispiece of
the time. first Florence

reproduced for

catalogue has

prepared by

N.

Levy.

VII

JAMES

ABBOTT WHISTLER

I L

CHRONOLOGICAL

BIOGRAPHY

1834

July
Nov. in the

10

or

II

Birth
"

at

Lowell,
Abbott Lowell.

Mass. tler, Whis-

1834

"

Baptized
of St.
to to

James
Anne,

Church moved moved

1837
1840 1842
Whistler,

Family Family
His

Stonington, Springfield, George

to

Conn. Mass.

father,
went to

Major
Russia railroad

Washington
the

superintend
from St.

construction
to

of Moscow.

the

burg Peters-

1843
sailed

^u"from

12

Mrs.
"

Whistler
to

with her husband

her

family
in St.

Boston

join

Petersburg. 1845 Academy 1849 1849

Took of

drawing
Sciences,
7 29 Death
"

lessons St. of

at

the

Imperial

Petersburg.
his
to

April July
New

father. the and United

Returned
"

States,
at
once

reaching
to

York Conn. Entered

"

Aug.

9,

going

Stonington, 85
1

July Academy

the

United

States Added
to

tary Milihis

at

West maiden
IX

Point.
name,

name

his

mother's

McNeill.

THE

METROPOLITAN

MUSEUM

OF

ART

1854
Academy

July
for Nov.

16

"

Discharged
in
an

from

West

Point

deficiency
"

chemistry.
appointment
States D. Coast in the and
at
a

1854
Geodetic

Received of the
at

drawing
of

division

United

Survey $1.50
"

Washington,
his

C,

salary

day. position.
six and
a

1855
in

Feb. show

Resigned
he five

The half

ords rec-

that

worked and

days
in

January
Summer

and

three-quarters days
in Paris.

February. 1855
"

Arrived

Entered

Gleyre's 1859
the Paris

studio.

His

painting,
Salon.
to

At

the

Piano,

rejected

at

1859
1862

Went

London for the

to

live.
at

Exhibited

first time

the

Royal
Salon,

Academy.

1863
but

Paintings rejected by
in the his
to

the

Paris

hung
Took
came

Salon first live

des house with

Refusees. in him London

at

1863
mother

and 7

his

No.

Lindsey strongly

Row,
1

Chelsea.
1

863-

866

Japanese

influence

most

shown 1866
1

in his work. Went

to

Valparaiso.
exhibition
of
a

87

1 a

The

first

"Variation"

and

"Harmony."

1872
time

"Symphonies"
and
an

exhibited of

for

the under

first

impression

night

the

title "Nocturne."

CHRONOLOGICAL

BIOGRAPHY

1872

Arrangement
of
the

in

Gray
Mother,
work

and

Black:
at

trait Porthe there

Artist's the

shown exhibited

Royal Academy;
by
Whistler. The

last

1876-7 1877
venor

Peacock 30
"

room.

April

Private

view which

of the

first Grosthe

Gallery exhibition,
Rocket. 25 and 26
"

contained

Falling 1878
trial.

Nov.

Whistler

v.

Ruskin

1878
and paper

Dec. Art

"

Published

Whistler first of
a

v.

Ruskin: of

Art brown

Critics, the

series

covered

pamphlets.
18
"

1879

Sept.

Auction

sale of the
a

contents

of
at

his home,

followed
s on

by
12,
to

sale

of his

paintings

Sotheby

Feb.
"

1880.

1879
1880
1 88 1

Sept.
and
"

Went

Venice;

executed

many

etchings

pastels.
Returned
"

Nov. Autumn Fine

to

London.

The

Pennsylvania
The
seen

Academy
of

of

the

Arts

exhibited and it
was

Portrait the

the

Artist's

Mother,
the

following
of American the first in

spring at
time that

exhibition in New

of the York. had

Society
This
was

Artists

Whistler exhibitions.

been

represented

American

1885
Hall,

Feb.

20

"

Delivered
at
10 p.m.

lecture

at

Prince's
was peated re-

London,
several

This in 1888

lecture he Ten

times

and

published
O'Clock.

it

under

the

title of Mr.

Whistler's
XI

THE

METROPOLITAN

MUSEUM

OF

ART

1888

Aug.
widow White Bernie

II

"

Marriage
\V. She
a

with the the

Beatrix architect

win, Godfor of

of

E.

Godwin,
was

the

House.

daughter
was

John
an

Phihp,
The

sculptor, and
Art

herself

etcher.

1890
was 1

June
The

"

Gentle

of Making
by
the

Enemies

published
1

in London.

89

Carlyle purchased
and The Artist's Paris.
to
10
"

Glasgow by
the

City Gallery

Mother

Luxembourg, 1892 1896

1902 Went

Paris Death
a

to

live. of his wife.

May April
"

Took

house

at

No.

74

Cheyne
ten

Walk,
years
to

Chelsea,
the

London,

returning
where he

after had

neighborhood
of his life. 17
"

spent

thirty years
1903

July

Death

of Whistler.

XII

WHISTLER

EXHIBITIONS

1874
Mall,

June
London,

6
"

Private of thirteen first Press

"

view

at

No.

48
and

Pall

paintings
"one
man

fifty

prints.
1

Whistler's

show." exhibition Art of

88

Jan.

28

view the

of Fine

an

fifty-three
Bond

pastels
London.

at

Society

in

Street,
Feb.
"

1883
exhibited

Fifty-one
Bond Notes
"

etchings Gallery.
Harmonies

and

dry-points

in

Street

1884
shown

May
at

Nocturnes
"

"

the

Dowdeswell

Gallery,
works
sent

London.
to

1884

Nov.
"

^Twenty-five
Dublin A second shown

the

hibition ex-

of 1886

the

Sketching
series
at

Club. of the Notes

"

May
"

monies Har-

"

Nocturnes

Dowdeswell

Gallery. 1889
Queen
most

At

the

College
London,

for

Working
there of
was

Women,
seen

Square,

the

representative
of

exhibition

his

work

since

that

1874.
March 19
"

1892 Goupil
exhibition

Opening
Bond

reception
London,

at

the of
an

Galleries,
of

Street,

forty-four
XIII

Nocturnes,

Marines

THE

METROPOLITAN

MUSEUM

OF

ART

and

Chevalet
the

Pieces,

for

which

Whistler

pared pre-

catalogue.
"

1895
London. 1904 the
was

Dec.

Seventy
At the

lithographs 78th
of Annual

exhibited

in

Feb.

"

Exhibition

of

Royal
a

Scottish group

Academy,

Glasgow,
oil

there

memorial

twenty-two

ings paintof

and

thirty-three pastels and

Feb. and
at

etchings.
Memorial McNeill and hibition Extler. Whis-

1904 Boston

March

"

^The

Copley Society
a

held,

Copley of
one

Hall,
Mr.

of
There four oil

the

IVorks

J.

were

hundred

eightyand

paintings,
two

water

colors,
and

pastels

drawings,
and 1904 New

hundred

thirty-five etchings
The Grolier of

dry-points, and April

York,
15 held
six
to

eighty lithographs. May

an

"

Club,

exhibition
and

etchings,
pressions im-

consisting of
from

hundred three

twenty-five
and

hundred

ninety-six
bition ExhiMcNeill

plates.
1905 Feb.
22

to

April of
the

15

"

Memorial

of
IVhistler,

the

IVorks

Late

James
the
and

First

President

of

International

Society
in It and the
was

of Sculptors, Painters,
New held

Gravers,
London.

Gallery, Regent
under of the
one

Street,
of the

the

auspices
hundred

Society
logical chrono-

consisted from

and

forty-eight
a

etchings

Royal
of three

Collections;
hundred black and

collection

and

eightyand

eight etchings;

fourteen
XIV

white

WHISTLER

EXHIBITIONS

colored

prints;
black and

two

hundred whites and

and

seven

graphs, lithoone

and

pastels,and
marines

hundred chevalet 1905 des and

one

forty-two
Exhibition

nocturnes,

and

pieces. May
"

at

the

Palais
one

de

r"cole
hundred and

Beaux-Arts,

Paris, consistingof
one

eighty-eight paintings, lithographs,

and
one

hundred and

hundred

fifty

etchings.

XV

HONORS

1863 1863
1886
TO

"

GOLD

MEDAL

AT

THE

HAGUE

"

THIRD

CLASS

MEDAL,
OF ARTISTS

PARIS

SALON

1888
"

PRESIDENT BRITISH

THE

SOCIETY

OF

1888
"

SECOND

CLASS

MEDAL,
BAVARIAN

MUNICH

1888
"

HONORARY

MEMBER ACADEMY

ROYAL

1889 1889
1889
" "

"

FIRST

CLASS

MEDAL,
MICHAEL
OF

MUNICH

CROSS

OF

ST.

BAVARIA

FIRST PARIS

CLASS EXPOSITION

MEDAL,

BRITISH UNIVERSELLE

SECTION,

1889

"

CHEVALIER

OF FRANCE

THE

LEGION

OF

HONOR,

1889
189I
"

"

GOLD

MEDAL,
OF SOCIETE

AMSTERDAM

MEMBER

NATIONALE

DES

BEAUX-ARTS,
I

PARIS

89
"

"

OFFICER

OF

THE

LEGION

OF

HONOR

1893

GOLD

MEDAL,

COLUMBIAN CHICAGO

EXPOSITION,

1894

"

TEMPLE
ACADEMY

GOLD OF PHILADELPHIA

MEDAL,
THE FINE

PENNSYLVANIA

ARTS,

1895

"

GOLD

MEDAL,
XVII

ANTWERP

THE

METROPOLITAN

MUSEUM

OF

ART

1895

"

PRIZE CITY

OF OF

2,500
MURANO,

FRANCS VENICE

OFFERED

BY

THE

NATIONAL INTER-

EXPOSITION

1898,

APRIL OF

23,

UNTIL

HIS

DEATH,
SOCIETY AND GRAVERS

PRESIDENT
OF

THE

INTERNATIONAL
PAINTERS

SCULPTORS,

1900

"

GRAND

PRIZE FOR

FOR

PAINTING
AMERICAN EXPOSITION

AND TION, SEC-

GRAND

PRIZE

ETCHING,
PARIS UNIVERSELLE

190
190
1
"

"

GOLD ACADEMIE

MEDAL,

DRESDEN

MEMBER

ROYALE
DRESDEN

DES

BEAUX-

ARTS,

1902

"

GOLD ACADEMY

MEDAL OF

OF THE

HONOR,
FINE

PENNSYLVANIA

ARTS,

PHILADELPHIA CONFERRED BY

1903

"

DEGREE

OF GOV/

LL.D.

GLAS-

UNIVERSITY

XVIII

THE

METROPOLITAN

MUSEUM

OF

ART

Brinton,
99-113.

Christian. New Charles

Modern

Artists.

Pp.

York,
H. 37-54.

1908.
*

Caffin,

American

Masters 1902.

of

Painting.
*

Pp.

New

York,

The

Story
New

of American 1907.

Painting.

Pp.

285-303.
Cary,

York,

Elisabeth McNeill

Luther. Whistler. New

*The

Works 1907.

of

James

York,

Chesterton,
Child,
Paris

G.

K.

Heretics. American

London,
Artists Art and
at

1905.
the

Theodore.

Exposition.
New A

Pp. 78-97. 1892.

Mansion. New
*

icism. Crit-

York,

Pre-Raphaelite
and Criticism. Boston. of

Pp.

305-

312. Copley

Art

York,

1892.
hibition Extler, Whis-

Society of the

of

Memorial McNeill

Works 1904.
*

Mr.

J.

February,
Cox,
Kenyon. New G. R.

Old

Masters
1905.

and

New.

Pp.

227-254.

York,
*

Dennis,
and

Bryan's Dictionary
London,
*

of

ers Paint-

Engravers.
Theodore.
et

1905. de

DuRET,
Whistler
*

Histoire

J.

McN.

de

son

oeuvre.

Paris, 1904.

Critique d'avant-garde.

Pp. 245-260

Paris, 1885.
XX

BIBLIOGRAPHY

Eddy,

Arthur of

Jerome.

Recollections McNeill

and

Impressions
London,
Exposition Whistler. Palais 1905. de 1903.

James

A.

Whistler.

des

ceuvres

de

James
Leonce

MacNeill Benedite. Paris.

Introduction I'Ecole des

by

Beaux-Arts.

May,

Forsyth,

Walter

Greenwood,
Ed. McNeill of the E.
*

and

son, Harri-

Joseph
of

LeRoy,

Guide Whistler.

to

the

Study

James

Abbott

Albany,
York.)
Whistler:

1895.

(University
Albert

State

of New
*

Gallatin,
Notes New and

(A. E.G.)
and other

Footnotes,
1907.
Charles

Memoranda.

York,

Goodspeed,
and

E.

Whistler's 1904. The

Art

Dicta

Other

Essays.
Club,
New

Boston,
York.

Grolier of

Etched G.

Work nedy; Ken1910. Peacock

Whistler.

Compiled
by

by Royal

Edward Cortissoz.
*

introduction C.

H.,
Room.

J. (HoLLiNGwoRTH
Obach

?).

The 1904.

Galleries, London,
*

Hartmann,
Art. 1902.

Sadakichi. Vol.
2;

History

can of Ameriton, Bos-

pp.

132-137,

163-173.

Hubbard,
N.

Elbert.

Whistler.

East

Aurora,

Y., 1903.

(Little Journeys Series.)

XXI

THE

METROPOLITAN

MUSEUM

OF

ART

HuYSMAN,

J.
Cheret,

K.

Certains.

(G. etc.)

Moreau,

Degas, 1889.

Whistler,

Rops,

Paris^

International Painters of the

and

Society Gravers. Works of the

*

of

Sculptors,
tion ExhibiMcNeill

Memorial

late 22d

James
to

Whistler,
1905.

London,

February

April 15th,

IsHAM,

Samuel.

The

History
New

of

American 1905. Vor-

Painting.
Knoor,
Th.

Pp. 316-340. J.
M.

York,

Whistler,
1904. Rosa.

Zehnuhr

lesung.
Koehler,
162. New

Strassburg,
Sylvester

Etching,

p.

York,

1885.
Whistler: of the

MacFall,

Haldane. Master

Butterfly,
ton, Bos-

Wasp,

Wit,
1907.

Arts,

Enigma.

Whistler.

Boston,

1906.

(Spiritof

the

Age Series.)
Mansfield,
of Abbott
the

Howard.

Descriptive
of

logue Cata-

Etchings

and

Dry-points Chicago,

James
Caxton

McNeill 1909. C. De

Whistler.

Club,

Mauclair,
1905.

Watteau

Whistler.

Paris,

MacColl,

Donald

Stewart. M'Neill 1902.

XXII

Nineteenth

Century

Art;

James

Whistler.

Pp.

154-158.

Glasgow,

BIBLIOGRAPHY

McSpadden',
of America.

J.

Walker. 221-271.
*

Famous New

Painters 1907. I Knew

Pp.
Mortimer.

York,
as

Menpes,
Him.

Whistler

London,
George. and

1904.
*

Moore,
1-24

Modern

Painting. 1898.

Pp.

256-7.
Richard.

London,
*

MuTHER,

History
1-44.

of

Modern New

Paintings.
York,
1907.

Vol.

4;

pp.

London,

Pattison,
Leonardo.

James Pp.
E. R.

William.

Painters 1904. of

Since

202-206.

Chicago,
*The Life

Pennell,
McNeill

and

J.
London,

James

Whistler. William

1908.
Fine pp.

RosETTi,

Michael. Vol. 3;

Art, Chiefly
New

Contemporary.
York, Singer,

645-664.

1896.
Hans W.
*

James
1905. Portfolio.

McNeill

Whistler.

Berlin, 1904.
Studio.
*

London,
Whistler

(Langham
London,
in Seven

Series).
1905. Arts.

Symons,

Arthur. New

Studies

Pp.

21-148.
Ralph.

York,

1906.
of the Macneil

Thomas,
and

Catalogue
of

etchings
tler. Whis-

dry-points
London,

James

Abbott

1874.
H. T.
*

TucKERMAN,

Book

of

Artists.

Pp.

485-486.

New

York,

1867.
XXIII

THE

METROPOLITAN

MUSEUM

OF

ART

Victoria of

and

Albert Whistler.

Museum.

The

ings Etchdon, Lon-

J.

McN.

(Catalogue.)

1905.

VosE,
Works

George of

L. W.

Sketch

of

the Civil

Life

and

George

Whistler,

Engineer.

Boston,

1887.
Thomas R.
*

Way,

Mr.

Whistler's

graphs. Litho-

London, Way,
R.
and

1896.
Dennis G. R.
An
*

The

Art

of

James
London, Wedmore,
A

McNeill 1903.

Whistler;

Appreciation.

Frederick. and
A
a

Whistler's

Etching:
1886. Whistler " pany, Com-

Study
*

Catalogue.
on

London,

Note
at

the

Etchings by
of Obach

Exhibited

the

Galleries

London,
Four gros,

1903. Masters Haden of

Etching
and

(Whistler,

Le-

Seymour
London,
*

Jacquemart).

Pp.

28-39.

1883-89.
and Others

Whistler
New

(24 essays).

don Lon-

and

York,

1906.
Eden
v.

Whistler,
Baronet Verdict.
*

J.
and

A.

M.

V/histler. Valentine

The with
a

the

Butterfly: A
1899.
Art of

Paris,
The

Gentle

Making 1892,

Enemies. includes:

London,

1890.

(New
XXIV

edition,

BIBLIOGRAPHY

Mr.

Whistler's

Ten

O'Clock;

Whistler
and

v.

Rusturnes, Noc-

kin; The

Painter-Etcher Marines
and

Papers,
Chevalet

The

Pieces.)
and Chevalet Pieces.

Nocturnes, London,
The Cabinet. The
*

Marines

1892.
Paddon

Papers;
1882.

or

The

Owl

and

the

London,
Piker

Papers.
Ten O'Clock.

Mr.

Whistler's

London,

1888.
*

Whistler The White

v.

Ruskin; House,

Art

and

Art

Critics.

Chelsea,

London,

December,

1878.
Album.

Whistler

(20

photographs).

Paris, 1892.
Wilde
V.

Whistler:

being

an

Acrimonious

Correspondence.

London,

1896.

XXV

THE

METROPOLITAN

MUSEUM

OF

ART

The Annie The

Morning
(W.
Music
2,

Call. 15, 24,

There and

are

four The

etchings etching
in

of of

57).
an

Room

(W. 26) is
the

entirelydifferent family
the

composition, showing
same room.

Haden

The

painting
in Mme.

was

shown

at

the

Goupil Gallery
it
was

Exhibition

1892 (No.
it
was

12), when
in the

lent hibitions Ex-

by
An Oil

Reveillon;
at

Memorial Paris
v.

Boston

(No.

15)
W.

and

(No. 7).

illustration
on

appears H.

in Pennell,

i, p. 90.

canvas;

37!",

29".

BLUE
"

AND
BIARRITZ

SILVER:the

blue

WAVE

LENT

BY

ALFRED

ATMORE

POPE

The rocks.

blue

wave

breaks is
a

over

reef

of

brown ing driftrocks

Above

light sky
IVhistler the the

with

broken
on

clouds. in the Whistler Bonvin's model master's It

was

Signed,
to

1862,

the

foreground,
was one

left. group
to

of in

who work

went

to

studio under the

1858

from and

the the

direction is
seen

of

Courbet

influence included

in this Memorial

picture.
Exhibitions
at

in the

Boston

(No.

54),

London

(No.

29)

and

Paris the

(No. 55).
Paris
as

In Leonce

Benedite's it

plates from
was

Memorial
XXIX.

Exhibition

reproduced

No.
on

Oil

canvas;

H.

24I", W.
2

34!".

WHISTLER

EXHIBITION,

NUMBER

3
THE

SYMPHONY
WHITE
GIRL

IN

WHITE,

I:

LENT

BY

JOHN

H.

WHITTEMORE

It is the
woman,

full

length,
and
a

life size
to

figure of
the
on

young She is fur in and

turned in white
on

slightly
white

left.
a

dressed rug front

her her

stands and Her

white

that of dark
a

lies white auburn

blue eyes
are

carpet,
gray

curtain. hair

hangs
lilacs and
at

about

her

face; in

left hand while

she

holds,

loosely,a single white

and other flowers

flower,
are

pansies,
on on

scattered

the the

rug

carpet.
the

It is 1862. and

signed
The decorated

right
was an

top, IVhistler,
Whistler the side in

frame with

designed by
imbricated
on

design;
of

butterfly signature
above

is On

the back A.

right-hand
the frame McNeill

the artist's
2

center.

the

the

handwriting: /.

tler, Whisfrom

Lindsey Houses,
to

Chelsea, his address

1866 The Mrs. but

1878.
for
an

model

this Irish

was woman

Jo

"

Joanna
of while

Heflfernan,

Abbot,
of
keen

little education

who, intelligence,
much

sitting to
and came be-

Whistler,
well

learned read. life

about

painting
an

She

played
the France
to

in Whistler's and
to
was

during
in

important part early London years

in
1

with in the

him

86

1-2,

going
studio

Paris

winter

give

him

sittingsfor
in
a

The

White

Girl, which
3

he

painted

THE

METROPOLITAN

MUSEUM

OF

ART

in

the

Boulevard

des

Batignolles.
not

He

also

painted her, although perhaps

as as

that

winter,
and

La The

Belle

Irlandaise,
White is also which

as

Jo,

Note

Blanche

Little There

Girl
a

tion). (No. 6 in this exhibiof

dry-point
her

Jo (W. 64) streaming

out

dated hair. This the

1861,

shows

with

picture
that and in

was

his

first attempt
set

to

carry his

principle

afterward "the artist with

down

in
to

Ten and

O'clock, choose,
contained beautiful."

is born

pick

group
nature,

science,
the

the

elements may of
at

that
an was

result

be

It

was

arrangement
not
was was

white that

against white
time. The of the

which White 1862 Berners

understood
sent to

Girl but

the The it

Royal
ager man-

Academy
of

rejected.
exhibited
of
"

Gallery
in that the it

at

the
and

opening
the

exhibition said in the

summer was

1862

AtheTiceum

the

most

inent promnot

picture
most

collection, though
as

the

perfect.
Mr.

Able

this

bizarre
one

production
of the
met most

shows

Whistler

to

be, it is

incomplete paintings we have ever in a quaint morning dress woman

her hair about of her

with.

of white, alone But

with in
a

shoulders,
in

stands

background
the rich this
or a

nothing
of
some

particular.
we

for
ceive con-

vigor
to

the

textures,

might

be

old

portrait by Zucchero,
a

pupil of his, practicingin

face is well

provincial town.
not

The

done,

but
4

it is

that

of

Mr.

WHISTLER

EXHIBITION,

NUMBER

3 This

Wilkie forth

Collins's what

Woman

in White."
to

brought
tler's WhisHe

is beHeved series he had of

no

be

the
to

first of the of it press.

long
wrote

letters

that Wilkie had

never

intention

illustrating happened,
sented reprein front

Mr. he

Collins's

novel,

which,
his

read, and
a

that white

picture

merely
of
a

girl in

standing
The the it

white its
was

curtain. Berners Street

success.

After Girl of in

White Salon shown order of

chosen

by
it
was

Whistler

for

Paris
was

1863, where
the Salon de

rejected; but arranged

Refusees,
same

by
as

Napoleon
Salon.

III in the

building
says
en

the the

official crowd Des-

Zola,
in

in

L'CEuvre,
of it the La

that

laughed
noyers
at
once

front

Dame

Blanc.

thought simple

most

remarkable with
not
a

picture, beauty
whether
wrote
was so

and

fantastic

peculiar that
to

the

public
or

did

know Mantz it

think the

it beautiful

ugly.
in

Paul that

in
most

Gaiette des important

before Girl
was

Beaux-Arts the

the and
some

picture

exhibition du

calls the years White

picture a "Symphonic
Whistler the

Blanc,"
title.

adopted
first of the Little

that

The in

"Symphonies
Girl lent

White";
Mr. and
now

No.

II is The H. Studd

White

by

Arthur

(No.

6 in this Ill

catalogue), picture
Girls,

Symphony
known
as

in White The
to
was

No.

is the White

Two Edmund
shown

Little

which The

belongs
White Girl

Mr.

Davis. in the American

sec-

THE

METROPOLITAN

MUSEUM

OF

ART

tion

of

the

Paris

International in White the

Exposition
No. first time
at
was

of

1867;
White
was

the Girl

title
was

Symphony
used

1: The when South lent

to

for

it

in

the

International

Exhibition in

Kensington,
The

London,

1872;
of
and
was

it Art

Metropolitan
to

Museum

from shown

July,
in the

1894,
of

December,
Show New held

1895;
at

Portrait

the in in in

National It
was

Academy
in the in An

Design,

York,

1898.
Boston Paris
v.

Memorial London

Exhibitions

(No.
(No.
i,

71),
4).
112.

(No.

37)
H.

and

illustration Oil
on

appears

in Pennell,

p.

canvas;

84^",

W.

421".

THE SIX

LANGE MARKS:

LEIZEN"
purple

OF
and

THE
ROSE

LENT

BY

JOHN in

G.

JOHNSON
costume
on

young with white the the

woman

Japanese
holds

is seated

and and
as

her
vase

left hand of the

her

lap
in
"

blue

shape
the" the

known

Holland refers
vase.

"Lange

Leizen";
on

six marks bottom her

to

potter'smark
of her in which with
a

of the raised Her

The hand black has

sleeve

kimono
holds

covers a

right
is

she delicate
on

brush.

skirt kimono

design
a

in color; the

bright
black,

flowers
rose

cream-white
a

ground
of A
rose,

and

is lined with

with

color;
the

band

edged
scarf

finishes

sleeve.

black

WHISTLER

EXHIBITION,

NUMBER

4
over

is

tied

around There Oriental

a

her
are

hair

and

falls blue the

each white
to

shoulder.
vases,
an

several is
on

and

carpet

floor,
of

the
a

right is
chest.

red

covered

table, and

back

her

Signed,
pendants
was

Whistler in the

1864,
upper

on

the

green

and The

orange frame

right
and

corner.

designed by
Chinese

Whistler and The the

decorated

by
The la

him

with The

frets

six marks.

Lange
and
the

Leizen,
the

Gold du

Screen,

cony BalPorce-

Princesse

Pays
between 7

de

laine motives 1866 modest method

are

important pictures with

were

Japanese
1862 and
a

that in
the

painted
at

studio

No.

Lindsey
room.

Row,
The the

little
was

second-story
with and the
more

back

that
on,

of his earlier

works,
he

paint
ficed sacri-

thickly laid
to

richness subtle

later

other
was

difference

Japan, however,
"

qualities. The in his not subjects. It was wanted that Whistler to paint
English
He models
color
one

he

clothed and

his

in

Eastern form first

dress with
to

produced
detail. the

beautiful
was

and of the

Japanese
owned

appreciate
picture
in the An

beauty

of

Chinese

porcelains
of of

and This and

choice
was

pieces.
in the

Royal Academy
Exhibition in

1864,

Goupil

Gallery

1892
v.

(No. 5).
I, p.
122.

illustration

appears

Pennel,

Oil

on

canvas;

H.

35I",
7

W.

23^".

THE

METROPOLITAN

MUSEUM

OF

ART

HARMONY ii:
the

IN

PURPLE
golden screen

AND

gold,
lent by

the

national

gallery

of

art

(freer
A
on

collection)

young
a

woman

in rug, her

Japanese
head
a seen

costume

is

seated
to

brown
as

in

profile print purple

and
a

the in

right,
her kimono

she

examines She

Japanese
wears a

held under

left

hand. with

multicolored
a

flowers

dered borobi white is white

a

with is around
a

vermilion

scarf,
her
outer

and kimono To
a

green is left and

her red
some

waist;
flowered
roses,

with
tea

design.
and
to

the

box,
there
are

in the the

blue

vase

are

pansies;
over

right, Hiroshige
floor and

prints
is
a

scattered

beyond
of
a

folding
screen

chair;
with
a

the

background
houses

consists and

folding painted
1864,
It
was

Japanese
ground.
the
at

figures
IVhistler

on

gold
on

Signed,
near

at

the

left

rug the

the

box. in

exhibited
was

Royal
Flower
to

Academy
the

1865; Gallery
the

lent Exhibition

by

Cyril
of

Goupil
was

1892

(No.

14), and
(No.
v.

in

Paris

Memorial appears H. in

Exhibition

8).
124.

An

illustration Oil
on

Pennel,
W. 26".

11,

p.

panel;

19^,

THE

METROPOLITAN

MUSEUM

OF

ART

iure,

two

verses

of

which

were

inserted

in the

catalogue.
The

painting
the in

was

lent

by

Gerald in

Potter

to

the it of

Goupil Gallery
was

exhibition

1892 (No.
of the
and

33);

at

Venice
the

International section of 1900,

Exposition

1895;
Memorial Paris

American

Paris
at

International

Exposition
Exhibitions in

the

Boston

(No. 28), and

in

(No.

5).

It is illustrated

Pennell,

v.

II, p. 252.

Oil

on

canvas;

H.

29/,

W.

19!".

NOCTURNE"

BLUE

AND

GOLD

valparaiso

lent

by

the

national

gallery

of

art

(freer
In the is
a

collection)
into the water,

foreground, stretchingout pier,

boats their The with
to

many the

people
and

walking
beyond
reflected
a

about;
fleet of
on

small

right
and shore

ships,
water.

lights
distant is of of

masts

the and

is mountainous To
a

the left This those where idea

sky
a

above

light blue.
few

the

extreme

shower is
one

sparks

falls from

rocket. remain
to

the

pictures which
Whistler's
went

of

painted during
he

trip
in 1866 When

Chili,
the

and

his brother the the

with

of

joining

insurgents.
rebellion
to
10

they

reached
This

Valparaiso
was

had

ceased.

picture

lent

the

London

Memorial

WHISTLER

EXHIBITION,

NUMBER

8 An

Exhibition illustration Oil

on

(No.

i6) by George McCulIoch.

in

appears H.

Way,

p. 62.

canvas;

29^", W.

19!''.

SYMPHONY
the ocean

IN

GRAY

AND

GREEN:
LENT

BY

RICHARD

A.

CANFIELD

A
at

broad anchor.
waves

expanse To
are are

of the

water

with
end
to

several

vessels

left the

of the

pier against
the the
water.

which and The

breaking;
silhouetted and

right branches
zon. hori-

leaves

against

sky

is green-gray

lightestat
dark The

Butterfly
the and monogram the the

monogram the

is in bottom.

cartouche frame the

was

to

right near
is
a

signed de-

decorated

by Whistler;
on

butterfly
side of
on

repeated
little

the than

right hand
the

frame,
canvas.

higher

signature

This wherein

is

the the

earliest

picture
feel
that

in

the

exhibition appears.

butterfly
to

monogram
a

Whistler
such
as

began
he used
note.

large signature,
a

in his In the and after

early pictures,was
Golden Screen in
a

cordant dis-

the

ture signa-

is interlaced way With somewhat the the

placed
the

decorative fashion. and

Japanese
to

symphonies,

nocturnes

large
It

portraits

butterfly began
II

be

used.

THE

METROPOLITAN

MUSEUM

OF

ART

was

made M. W.

from

the
a

interlacing of
which in

the

letters

J.

into into and

monogram,

gradually
then silhouette.

evolved

the

butterfly
a a

outline,

shaded,
It
was

finally
as

stencil-like
note
as

introduced in the

of

color,

as

portant imAt

picture
in almost
was

anything
at

else.

times
to

it

was

put

the

first
out

painting
with the secured
as a

judge
and proper

the

eifect;

scraped

rest,

put in again and

efi'ect.
on

again
in his

until
was

he

the

The and

butterfly

used

signature
on

prints
and

correspondence,
in The Gentle in elaborated

invitations

on

catalogues;
it
was

Art many This

of Making
ways is
one

Enemies
a

and of the
was

sting was

added.
at

picturespainted
The lent Pacific.
to

Valparaiso;
hibition Ex-

its first title The

picture was
in in the

the

Goupil Gallery
Mrs. year
at

1892 (No.
Salon

15) by
the
same

Peter and

Taylor;
was

it the
and

was

in

Memorial Paris
on

Exhibitions

Boston

(No.

74)

(No. 62).
H.

Oil

canvas;

31",

W.

38I".

9
"

NOCTURNE:
^

blue O R

and

silver

lent

by

the

national

gallery

of

art

(freer
In the

collection)
is the beach with of
two
a

foreground
waves;

silvery figures

line of low

the

silhouettes
12

WHISTLER

EXHIBITION,
to

NUMBER

10

are

discerned
blue
sea

the

left.

Beyond
two

is

calm

deep
with

with blue

four

sail-boats,
is dotted is

of them
stars.

lights;the

sky

with
on a

Butterfly monogram,
in

in white,
corner.

rail post

right-hand

lower

This

picture was
in the and
on

lent

by

Alfred in

Chapman
at

to

the and

Goupil Gallery
was

Exhibition

1892 (No. 24)

Boston

Memorial

Exhibitions

(No.

65)
Oil

Paris
canvas;

(No. 68).
H.

19^", W.

33 i".

10

PORTRAIT I STLER
lent by

SKETCH

OF

MR.

WH

the

national

gallery

of

art

(freer
Half

collection)

length portrait, the

and
a

figure
with hat

turned view.

to

the He

right
wears

the loose and is

face black
a

in

three-quarter
low under

coat, black Dark

white which

collar his

showing,
gray The lock

soft

seen.

background.
oil is the
one

earliest in

known Paris

in self-portrait about in

painted
a

1859,

the

Whistler
v. was

with p. lent 190

Hat

(illustrated

Pennell,
which

i,

and

engraved
P. Boston

by Guerard),
to

by

Samuel in

Avery
(No.

the

Memorial Paris

Exhibitions

55)
in

and his

(No.
for

i). William

Michael

Rosetti mentions

diary
in

February
studio believed

5, "a

1867,

seeing

Whistler's

clever, vivacious

portrait of himself,"
13

THE

METROPOLITAN

MUSEUM

OF

ART

to

be

the

one

that and

belonged
which

to

the
as

late the

George
piece frontis-

McCullough
to

appears

Pennell,

v.

ii.

The
to

portrait sketch
about this for

in
or

this
a

exhibition
and

belongs
is
produced re-

period
the
wrote

little later

first time.
to

In

1874

Whistler for
a

Fantin-Latour
on

about of
was

studies artist's be the

big picture
a

the

plan

that
to
on a

Homage
central La and

Delacroix. with
the

Whistler White

figure

Girl
and
note.

couch,
Moore of the

Japonaise walking about,

Fantin
to

Albert One is illustrated he

was

give

the

black

studies. Whistler
in

in p.

his

Studio,
In
in
a

Pennell,
a

v.

i,

184.

1894
white
was

painting
which,
into
a

portrait of
to coat

himself

jacket

according
dark

the

Pennells,
wife's

changed
A full

after
overcoat

his
was

death. the Paris Brown

length
Gold;

in of
a

long
1900

in

sition Expoand W.

under

the

title of
to

half-length belonging
and
was

George
(No. Gold,
i,

Vanderbilt in under
the

in

the

Memorial Paris and

tions Exhibi-

Boston
same

(No.
title of Leonce

i) and
Brown

29)
and while in

reproduced
a

in

Benedite,
for

plate
is

pen

and
v.

ink
11,

drawing
202.

it

shown

Pennell,
There
are

p.

several

etched
dated

self-portraits. A 1859 (W. 52)

Lock Thomas'
14

very
the

early one
Whistler

(W.
with

i), one
the
to

and

White

(W.

142), the
of

frontispiece

Ralph

Catalogue

WHISTLER

EXHIBITION,

NUMBER

II

Etchings etching
and
to

and

Drypoints
similar
to

of

Whistler

is

an

very

the chalk

McCullough

portrait

is dated Thomas

1874. Way
H.

drawing belonging
in Pennell,
v.

is illustrated

i,

p. Oil

136.
on

canvas;

27^',

W.

if.

II

PORTRAIT
lent by the

OF
national

F.R.LEYLAND
gallery of art

(freer
Full the

collection)

length, right, the

beard dress

life size face

are a

figure, slightly
His
wears

turned and

to

full front.

hair

full
ing even-

pointed
hand carries
on

brown;
white

he

black

with
on

ruffled and
a over

shirt; the
the left
arm

right
he

rests
a

the

hip

gray

overcoat;

silver

buckle and

shows gray

the

right shoe.

Dark

background
of and Mrs.

floor. Mr. Frederick

Leyland
and both

was

one

Whistler's

early patrons,
and of their
at

between Mr.

1872
and Whistler

1874
made

he

painted portraitsof
four visits

Leyland
long
pool, Liver-

children.

Speke Hall, Leyland's place near

the forth

and back and

big

canvases

traveled

with

him,

between in

Speke
both record

Hall

and

London,

sittingsbeing given
and

places. Etchings
these and
at

dry-points
Hall Shore

that

visits

are:

Speke

(W.

86, dated

1870,

Sup. 269),

Speke

(W.

119), Shipping
15

Liverpool

THE

METROPOLITAN

MUSEUM

OF

ART

(W. 84)
for Gate
In

and

The

Dam

Wood London Room for

and

(W.
house
was

120).
in

It

was

Mr.
that

Leyland's
the Peacock

Prince's

decorated. first time the

pressed sup-

this

portrait Whistler
the

the

background
in which the

put

figure into
any

the

atmosphere

it stood,
was

without the artist

accessories;
stand
from
as

problem
the

to
as

make the

figure
stood
one

far within he

frame it.
of

it when

painted
awful
to

Mr. this
over

Graves,

of

Whistler's
he

assistants,
into
a an

says mess"

portrait that
the

"got

legs and
An

finally had etching (W.

land) shows
Mr. of

model 93,

pose

for Mr.

it nude. Frederick

inscribed the upper

Leywinter Mall

only

part of the
finished

body.
Pall

Leyland's portraitwas 1873

and
was

in the

shown

in Whistler's It
was

Exhibition Memorial illustrated

sketch

of

1874.

lent Val

to

the

London
is A

(No.

100) by Mrs.
London

Prinsep, and
p. the
1

in the the

catalogue,
lent
to

18.

for

portrait was
H.

London

Memorial Oil
on

(No. 97) by Charles

canvas;

Conder.

74", W.

35".

12

NOCTURNE
THE FALLING

IN

BLACK
ROCKET

AND

GOLD:
LENT

BY

MRS.

SAMUEL

UNTERMYER

dark

blue In the the

night
right;

scene

with is
a

fireworks with of
a

in

park.
plat
to

foreground
on

path
a mass

grass

the

left

foliage

16

THE

METROPOLITAN

MUSEUM

OF

ART

without the

costs.

During
definition rather in the
to

the of
a

trial Whistler Nocturne:

an
"

gave
1 have

following
meant

perhaps
from have

indicate

artistic
the

terest in-

alone any
been

work,
sort

divesting
interest
to

picture
might
It is
an

outside otherwise

of

which it.

attached and

arrangement
make about
are some use a

of line, form of any incident

color

first, and
shall my chosen

which

bring
works the and

symmetrical

result.

Among
1 have it

night pieces; and

'nocturne' whole
that

word

because
set

generalizes
After about
two

the simplifies had

on

of

them."

tler Whis-

stated

he

worked the

days
for

The "The you

Falling Rocket,
labor ask
two

Attorney

General

said: which

of

two

days, then,
I ask it for

is that
to

hundred
"

guineas?"

which edge knowl-

Whistler of Whistler
a a

replied:"No
lifetime." recorded
all

the

the

details

of

the

trial in
him

brown-covered

pamphlet
under the

published by
title of This
was

in
v.

December,
Ruskin: in the Enemies. The Art later

1878,
and

IVhistler
included

Art

Critics.

editions

of his Gentle

Art

of Making
of in tration illus-

picture
(No.

was

in

the

Goupil
(No.
v.

Exhibition Exhibitions

1892 (No.
Boston

10) and

the and

Memorial Paris

84)
H.

66).
p. 232.

An

appears Oil
on

in Pennell,

i,

panel;

23!",

W.

17I".

18

WHISTLER

EXHIBITION,

NUMBER

I3 BLACK

13 AND

ARRANGEMENT BROWN:
LENT BY RICHARD rosa

IN
corder

A.

CANFIELD

Full
back the brown

length,
toward

life size, the

her

standing
her in

figure with
body
turned

her
to

spectator,
face
seen

right and
hair and is
a

profile.
She
wears

Her
a

light
black

tightly coiled.
black
at coat

dress white The brown The floor

edged
and
at

with down

fur, with
the front.
a

showing
felt hat

the

neck

right hand, background

is

hanging
with is

her

side, holds
feather.

flowing
dark,

brown

almost

black;

the

gray-brown.
Blanche,
once saw

Jacque
Whistler brown struck
was

the

painter,
Rosa

has Corder black The

said in and

that
her
was

Miss
a

dress with
at

pass the
2

door

painted
of color.

effect

picture 1876, as
Howell,
sold in
at
a

begun

Lindsey
of

Row,

before

commission Whistler's Christie's

from
man

Charles affairs.

Augustus
It
was

with

Howell's In 1902

other

effects
saw

April,
to

1881, for

"130.
of

Whistler it
was

the

cleaning by
The the

this

picture

when

purchased
Robertson. Grosvenor Fran-

present

owner was

from exhibited

Graham
at

picture
in

the

Gallery
Painters the

1879;

at

the

Salon

des

Artistes of

fais in 1890; International

and Gravers in

Society

Sculptors,
and

1898 (No.
at

178),

in

Memorial

Exhibitions 19

Boston

(No.

25)

THE

METROPOLITAN

MUSEUM

OF

ART

and

Paris
v.

(No.
i, p.

21).

An

illustration

appears

in

Penneli,
Oil
on

296.
H.

canvas;

75",

W.

36".

14

PORTRAIT
LAN D

OF

FLORENCE

LEY
LENT

BY

THE

BROOKLYN AND SCIENCES

INSTITUTE

OF

ARTS

Full face. where her in

length,
She

life

size, standing
a

figure,seen
with
a

full
bow
over

wears

gray

dress

black

the black

fishu

meets;

white
a

ruffles

fall is

gloves
hand. gray. with

and

handkerchief

held
is

her

right

Her The

round,

black

hat is almost

trimmed

background

black,
Whistler

the

floor made
a

slightlygray. dry-point
hand;
the of
her

Florence in

Leyland
that with

(W.
with the it

96)
a

in

1873, showing
in
her

early girlhood
of this

hoop
have

comparing subject
about

apparent
must

age
been

of

portrait
ence FlorF. R. also
a

painted
youngest
1 1

1877.
of
was

Leyland,

the

daughter catalogue),

Leyland
the

(see No.

in this
or

original Blue
three but

Girl

Baby

Leyland,
and
once

full
pleted com-

length
studies

times

attempted by

destroyed
known,
in Duret, death of
the
a

Whistler.

Several sketch is

are

pen-and-ink Leyland
of in

illustrated After the

p. 53. Mr.

1892,

the

portrait became

property
20

Florence

Ley-

WHISTLER

EXHIBITION,

NUMBER

land, who
Her the of Oil husband

had

married died year

in

Val 1905
the

Princep,
and

the

painter.
Institute

it

was

purchased

following
Arts
on

for

Brooklyn
35!".

and
canvas;

Sciences. H.

74!", W.

15
three

THE
girls

WHITE

SYMPHONY:

lent

by

the

national

gallery

of

art

(freer
Three
women

collection)
in white
are

dressed the blue the

in

like Japanesethe
ter, cen-

garden,
white
a

sky showing
awning.
a

between In red
a

wall

and

white

the cap red the

a a

kneeling
a a

figure wearing
bush The trellis.
a

is

tending
raised
on

pink-blossomed
green
has hand.

in

pot left,

girl on
and

leaning
fan

over,

pink drapery
To the

purple

is in her
a

right stands
a

figure
sol para-

wearing
over

red

cap

and

holding
Schemes

Japanese

her
one

right shoulder.
of the
same a

This

is

Six

or were

Projects, of probably
that

practicallythe
the
was

size, which
for Mr.

studies
never

for

decoration

Leyland

executed.

William

Michael

Rosetti,

the

writer, in his diary for July 28, 1867, noted:

is

"Whistler

doing
of

on women

largish scale,
with Memorial

for

Ley-

land, the
This
at

subject
was

flowers." Exhibitions A simi-

picture

in

the

Boston

(No. 19) and

Paris
21

(No. 11).

THE

METROPOLITAN

MUSEUM

OF

ART

lar

composition
was

called

Three

Figures,
to
are

Pink the

and don Lon-

Gray

lent

by

Alfred

Chapman
There in which be

Memorial

(No.

399).

several

etchings figuresof
Oil
on

and the

lithographs Projects
board;
may H.

the

separate

found. W.

academy

lyf",

23^".

16

NOCTURNE:
"

blue reach

and

ver sil-

battersea

lent

by

the

national

gallery

of

art

(freer
A

collection)
the Thames. boats of with mist In the ground, foresails.
covers

foggy evening
on

on

the
a

right,are
is the

folded that

Through
river with This
the

blue-gray
seen

veil

and

sky,
of

irregularline
W. G. in
at

of docks

points

light.
lent

picture

was

by

Rawlinson

to

Goupil Gallery
the and
on

Exhibition

1892;
Boston

it

was

in

Memorial Paris
canvas;

Exhibitions

(No.

63)
Oil

(No.
H.

70). 19^",
W.

29^'.

17

THE
lent

JAPANESE
by HOWARD

DRESS
MANSFIELD

The

standing figure
hand

of

young
to

woman,

her
over

right
left
left

crossing
a

her

body
kimono,

hold

her Her

shoulder
hand

yellow Japanese
the

parasol.
which

grasps

is flesh-

22

WHISTLER

EXHIBITION,
a

NUMBER

l8 and is

colored lined with is On

with with touches

at

pattern

in The

peacock-blue
skirt
and
a

yellow.
of the hair band waist is and

of

gray-blue
rose,

light

blue with

bright
vermillion cap

caught
her

obi. with
a

yellow

flesh-colored
a

peacock-blue
The

touch shaded

of rose-color. with

butterfly monogram,
to

peacocka

blue, is placed

the

left of the knees.

figure on
the
covered

line

slightly above
hand

the

Along

rightby
the

edge,
is

in
the

pencil, and
moved

almost
2

pastel,
Chelsea.

inscription
late in 1866

Lindsey Houses,
No. the
2

Whistler

to

Lindsey
was

Row,
sold It

Chelsea,
in

and

house

1878.
in the Boston Memorial

was

Exhibition

(No.
Pastel

116).
on

brown

paper;

H.

10", W.

6y.

18

ANNABEL
lent
by the

LEE
national
gallery of

art

(freer
A female

collection)
near

figure standing
on a

the back

sea

with

her

left hand

railingand
is dressed
an

her

toward

the
held and

spectator.
with green cap

She

in gauzy iridescent

white blue
a

yellow
scarf
covers

bands;
from

floats
her

her

arms

and

purple
a

light hair.
sea

Beyond sky.
the

is

wide ground, fore-

expanse

of

light blue

and

In the green

purple

irises rise from

23

lawn.

THE

METROPOLITAN

MUSEUM

OF

ART

Butterfly
placed
There
never

monogram,
water to

shaded the left. of

the

with

purple,

is

in the is
an

oil

painting
Whistler

same

subject,
literary
known
at

exhibited.
to

rarely
other the

gave
one

titles

his

pictures,the only
Deans
in

being
This London

the

EfFie

Rijks

Museum

Amsterdam.

picture

was

lent

by

Thomas

Way
(No.
v.

to

the

Memorial appears brown

Exhibition in Pennell,
H.

63).
p. 92.

An

illustration Pastel
on

11,

paper;

i2|", W.

6f".

19

THE
LENT

DOORWAY,
BY RICHARD
A.

VENICE
CANFIELD

A
a a

courtyard
well. canal
and

with

two

gaily
doorway
on

dressed
is
seen

women a

at

Through
the the

the

passage,
bank.

houses
are

the

other

Above green

doorway
and
are

three

windows
two

with the dows win-

shutters
women

railings;in
over

of

leaning
the visit

the with

railing.
brown,

Butterfly
to

monogram,

shaded
center. to

placed

the

right

below

Whistler's

only

Venice

was

from

tember, Sepduring

1879
that time His chalk with green
on

to

November,
many
was

1880,

and

he

executed

etchings
draw

and

tels. pas-

method brown the

to

with

black

paper

and

then of the

faintly suggest
old

pastels

colors the

walls,

the

shutters,

women's
24

bright

dresses.

THE

METROPOLITAN

MUSEUM

OF

ART

with

overhanging
is
a

foliage.

In

the and

middle

tance disto

single arched
row

bridge,
shaded

beyond,
brown,

the

left, a

of houses. with in

Butterfly
lower This left

monogram,
corner. was

picture
(No.

in

the

Paris

Memorial

bition Exhi-

157).
paper;
H.

Pastel

on

brown

io|",

W.

5".

22

STREET,
LENT
BY RICHARD

VENICE
A. CANFIELD

woman

in with

black

shawl
on

is

seen

in side.

narrow

street
are

high

houses

each

Beyond
bition Exhi-

steps

and

several
was

figures.
the Paris Memorial

This

picture
(No.

in

161).
paper;
H.

Pastel

on

brown

10^", W.

3^".

23

THE
LENT

CEMETERY,
BY RICHARD A.

VENICE
CANFIELD

A the

wide

canal
a

with white
trees.

three church In the

draped
and

gondolas;
its

to

right
green

cemetery
a

with

distance
sea

line

of

buildings silhouetted
Butterfly
corner.

between in

and in

sky.
lower left

monogram,

outline,

This

picture

was

in

the
26

Paris

Memorial

Exhi-

WHISTLER

EXHIBITION,

NUMBERS

24

AND

25

bition

(No.
p.
on

155).

An

illustration

appears

in

Gary,
Pastel

198.
brown paper;

H.6i",

W.

lof".

24

NOCTURNE,
LENT BY RICHARD

VENICE
A. CANFIELD

In
on

the the

foreground
distant

line of and

boats;
are

lights gleam
in

shore

reflected

the

water.

Butterfly right
This
near

monogram, the bottom.

was

shaded,

placed
Memorial

to

the

picture
(No.

in

the

Paris

bition Exhi-

154).
paper;

Pastel

on

brown

H.yJ",

W.

lof".

25

LONGVENICE
LENT BY RICHARD A. CANFIELD

View
at

of

Venice

seen

from,
water

the

lagoon;

vessels

anchor;

deep
A Little

blue

reflectingseveral
appears which Fine
was

campaniles.
the
one

similar Venice
set

composition
(W.

in

etching,
of the

149),

Venice

published by
in outline,

the

Art

Society, London,

1880.
on

Butterfly monogram,
to

lower

edge
bition Exhi-

the

right of picture
(No.

the

center.

This

was

in

the

Paris

Memorial

152).
paper;

Pastel

on

brown

H.4^",
27

W.

lof*.

THE

METROPOLITAN

MUSEUM

OF

ART

56

ARCHWAY,
LENT BY HOWARD

VENICE
MANSFIELD

red

and which

orange
a

wall

broken

by

an

archway,
the

within

child

is

leaning against
in the
an

left the

wall;

another
A

figure stands
woman,

center

of

archway.
stands

wearing
court
on
seen

orange the

shawl,
way; arch-

in the

open

through
a

beyond
and This
on

her,
left
a

the

right, is
a

green

shutter

the

door

with

glass fan-light.
Memorial bition Exhi-

picture was
(No.

in the

Boston

127).
paper;
H.
i

Pastel

on

brown

U",

W.

7V'.

27
lent

THE
by

ISLES
the national

OF

VENICE
gallery of art

(freer
The blue
brown
sea

collection)
with
to
a

is dotted
one

white
the

sails

and

large
are

is

seen

right; the

Isles

silhouetted

against

light sky.
in violet, in lower

Butterfly right
Pastel
corner. on

monogram,

shaded

brown

paper;

H.

3}",

W.

lof.

28
lent

VENUS
by the

ASTARTE
national gallery of art

(freer
A
nude back in her

collection)

standing
a

figure, seen
veil.
hair. There

full is
a

front,

who

holds band

green brown

rose-colored

28

WHISTLER

EXHIBITION,

NUMBER

29
rose,

Butterfly
to

monogram,

shaded

with

placed
bition Exhi-

the

right. picture
(No.
was

This

in

the

Paris

Memorial

132).
paper;
H.

Pastel

on

brown

lof

\V.
,

6f'^

29

ARRANGEMENT
OF SENOR

IN
PABLO

BLACK:
DE

PORTRAIT
SARASARTE

LENT

BY

THE

CARNEGIE

INSTITUTE,

PITTSBURG

A of

full

length, almost
musician. his violin and He

life size, is in bow

in

standing portrait
dress

the

evening
the
act

and

holds The the

of

tuning.

background
floor is
a

is dark

gray,

almost

black, and

lightergray.
in

Butterfly
darker

monogram, is

gray
to

silhouette
the

on

the

ground,
up.

placed
his

right

about and

halfway
decorated
is

Original

frame

designed
monogram

by Whistler;
on

butterfly
side. studio Pennell

placed

the

right-hand
seen

This

portrait was
Chelsea,
visited "what
the
man

in

the

at

13 Tite in
He
was

Street,

by

Joseph

when,

1884,
says
to

he

Whistler Whistler
on

for the
was

first time.
to

that

trying
him.

do

paint
as

the

shadowy
saw

concert

form platis he

the
to

audience
look

Sarasarte

intended would

small, less than

seen

life-size,as
up
on

appear

when

away in

the this

cert con-

stage."

Whistler

speaking

of

por-

:?9

THE

METROPOLITAN

MUSEUM

OF

ART

trait

to

Sidney
by
the exhibited Artists and

Starr
bow."

referred

to

its

being
the

"All

balanced It
was

for the in

first time
was

at

Society
Salon of the chased pur-

of British in

1885;

in the

Paris

1891,
in

in

the

1897

exhibition

Carnegie Institute, Pittsburg, having

been

1896.

It

was

shown

in

the

ial Memor-

Exhibitions

in Boston

(No.
An

53), London
illustration sketch

(No.
of this for it

19), and

Paris

(No.
also of

20).
a

portrait and
appear Oil
on

pen-and-ink
11,

in Pennell,
canvas;

v.

p. 4.

H.

84",

W.

40".

30
THAMES

GRAY

AND

SILVER:

the

LENT

BY

ROSALIND

BERNIE

PHILIP

view,

from

the

embankment river

in

the few

ground, foresmall
on

of the boats the Oil and the

quiet

a reflecting

warehouses

and is
a

tall

chimneys

opposite
on

shore.

There

silverygray

sky.

canvas;

H.

23!'-,W.

17I".

31 BLUE

SYMPHONY

IN

VIOLET

AND

LENT

BY

ALFRED

ATMORE

POPE

Rolling
sailboats broken

sea on

with

white-capped
the horizon.

waves

and

three with

Blue

sky

storm

clouds. 30

WHISTLER

EXHIBITION,
a corner.

NUMBER

32
on

Butterfly monogram,
water
near

dark

silhouette,

the

the

left

This
not

picture was catalogued.

in the It
was

Salon shown

of

1894 although
in the Boston

Memorial Oil
on

Exhibition
canvas;

(No.

30).
28''.

H.

ig\\

W.

32
AND

ARRANGEMENT
GOLD:
LENT by le comte

IN

BLACK
robert

RICHARD

A.

CANFIELD

Full the
wears

length, life size, standing figure turned right

a

to

with

his dress

face

almost
a

full front. gray

over a

He

black

suit;

dark

overcoat

lined
arm;

with in

silvery gray
his

is thrown he

his

left

gloved
The

hand

holds

slender almost

brown

cane.

background
golden
is brown. in brown

is dark,

black;

the

floor

Butterflymonogram,
darker up. This

silhouette
to

against
left halfway

background, portraitof
was

placed
Robert in

the

Count

de and

Montesquiou1891;
Edmond 7, there de

Fezensac
was a

painted
one,
never

1890

second

finished. for

Goncourt

in his

journal
tells
me

July

1891, wrote:
is
now

"Montesquiou

that him:

Whistler
one

doing
dress in
a

two

portraits of
a

is in
arm,

evening
other
at

with

fur

coat

under

his

the

great

gray

cloak,
a

with necktie 31

high
of

collar
a mauve

his
not

neck

just suggested,

THE

METROPOLITAN

MUSEUM

OF

ART

to

be

put

into
color

words,
of

though
make

his

eyes

express

the

ideal

it."
to
a

Whistler the
was

undertook

lithograph

of "it

Q)mte

Robert
to
"

but

failed, saying that

the
as same

impossible
twice
over

produce
as

piece master-

difficult

for

hen

to

lay

the The the

was

same

egg

twice."
owner

present
Comte shown

purchased

this

portraitfrom
in

de

Montesquiou
the

early
Memorial appears

1903. Exhibition in

It

in An

Boston

(No.
p. Oil

39).

illustration

Duret,

174.
on

canvas;

H.

81^",

W.

33".

33
of

L'ANDALUSIENNE:mother
pearl and silver

lent

by

john

h.

whittemore

full

length, life size, standing figure,her

the

back
to

toward the
rests

spectator,
the

the in

body

half Her

turned

right and
on

face the

profile.
at

left hand side is

She

her holds

hip;

right hangs
Her in
over

her

and

lightly
black
a

her

dress.
a

hair

almost
wears

and

is dressed
net

tight knot.
gray with The
much

dress

of black and

transparent

yoke
is
the

full elbow wall

sleeves.

background lighter
than

lilac-gray,the
floor. monogram, the

being

Butterfly
placed
to

large
the

dark

silhouette,

right near
32

center.

THE

METROPOLITAN

MUSEUM

OF

ART

35
FAN

BLUE

AND

ROSE:

THE

OPEN

lent

by

the

national

gallery

of

art

(freer
The

collection)

figureof
in her
blue

young
the

girlin
left. she A

rose-colored blue
an

dress
on

walking
head;
and

toward

cap

is

her

right hand
and the her To

holds

open

white
to

fan

left hand is
a

is raised

her in
a

shoulder.
blue
vase.

right

pink
in

shrub

Butterfly placed
Pastel
to
on

monogram, the left. paper;

shaded

dark

blue,

is

brown

H.

lo^", W.

6f".

36
PINK

ROSE
CAP

AND

RED:

the

little

lent

by

the

national

gallery

of

art

(freer
A
woman

collection)
full face, her
rose

standing,
thrown she back
a

and

red

robe
arms

disclosing the body.

child

In cap. the

her A pression im-

holds

wearing

pink

few

lines of

in
sea

the
and

background
beach. shaded

convey

Butterfly
the This Art

monogram,

in

red, placed

to

right. picture
Club,
was

shown in

at

the and

New it
was

English
in

London,

1889,
34

the

WHISTLER

EXHIBITION,

NUMBERS

37

AND

38
and

Memorial Paris Pastel

Exhibitions

at

Boston

(No.

130)
6|".

(No. 144).
on

brown

paper;

H.

10^", W.

37
LYME
LENT

THE

MASTER REGIS

SMITH

OF

BY

THE

MUSEUM

OF

FINE

ARTS,

BOSTON

The head

half and

length
He
a

of

man

with

folded

arms; to

the
the

figure
has dark

turned dark

three-quarters
hair and
and
a

right.
and
wears

very gray

mustache

overcoat

lightgray
at
ter cen-

shirt.

The

background
a

is dark dark

brown.

Butterfly monogram,
of

silhouette,

right hand
was

edge. Lyme

Whistler the
autumn

at

Regis, England, during

This

of

1895.

picture
in Paris
v.

was

shown

in

the

Memorial

Exhibitions

Boston

(No.
An

36), London
illustration Oil
on

(No. 24) and

appears H. in

(No. 27).
11,

Pennell,
1

p.

170.

canvas;

19I", W.

1^".

38
LYME
LENT

THE

LITTLE
REGIS

ROSE

OF

BY

THE

MUSEUM

OF

FINE

ARTS,

BOSTON'
seen

The

half her

length portrait of
hands crossed 35

little
her

girL

full has"

face;

in

lap.

She

THE

METROPOLITAN

MUSEUM

OF

ART

chestnut

hair

and

wears

black

dress

and

red

pinafore.
It
was

The

background
the Included in

is violet-brown.
same season as

painted during
Smith. in Boston

the

Master

the

Memorial

hibitions Ex-

(No. 43), London

An illustration

(No.
appears

26)
in

and

Paris
v.

(No. 42).
11,

Pennell,
Oil
on

p.
H.

166.

canvas;

19^", W.

11

1".

39
LITTLE

BLUE
BLUE

AND
BONNET

CORAL:

the

LENT

BY

HERBERT

L.

PRATT

The

half

length
She look
dress
a

of

young
to

seated, girl,
the left and hair the and

her the

body
face

turned full eyes

three-quarters
has

front. that

chestnut
at

brown Her

straight

spectator.

gray-green she her

wears

is trimmed
to

with and

peacock-blue;
a

bonnet

match

tulle

bow

at

throat.

Butterfly
the The left.

monogram,

coral-red

silhouette,

to

picture was
Society
in London Memorial

in the of in

Exhibition

of the Painters

national Interand in the

An
220.

Sculptors,
1896 (No.
in

Gravers
London

182) and
(No.
v.

Exhibition

8).
p.

illustration Oil
on

appears
H.
22

Pennell,

11,

canvas;

1", W.

17" (oval).

36

WHISTLER

EXHIBITION,

NUMBERS

4O

AND

4I

40
lent

VERT
by the

ET

OR:
national

le

raconteur

gallery

of

art

(freer
Half

collection)
of
a

length figure
thick brown and

young He

boy
has
coat vest

seen

full
eyes

front, his left hand

and

raised.

brown with and

hair; the black

shows
a

brown white

lapel is
shirt. Oil
on

open

brown is dark

The
canvas;

background
H.

olive.

19!", W.

iif".

41
lady

ROSE
sophie

AND
of

GOLD:
soho

the

little

lent

by

the

national

gallery

of

art

(freer
A half

collection)
a

length portrait of
and

young

girl,seated,
to

with the Her hair black

face

figure
her dark hands

turned folded and

three-quarters
across

left and eyes

are

her

lap.

gray her

her

dark she

brown
wears a

hangs
dress.

about The

shoulders;
is

background
in dark

pinkish-gray.
to

Butterfly
left of the This

monogram,

silhouette,

the

figure.
was

picture
at

included

in the

Memorial
Paris
v.

hibitions Ex-

Boston

(No. 83) and

in

(No. 37).
11, p. 208.

An

illustration
on

appears

Pennell,

Oil

canvas;

H.

25", W.

2of" (oval).

37

THE

METROPOLITAN

MUSEUM

OF

ART

42

POUTING
LENT
BY

TOM
H. H.

BENEDICT

The

half

length

of

young She the

girl, the
wears a a

face

and dress

figure seen
with black falls
to
a

full front. frill

on

black

white cap her

rests

at

throat;

close-fitting
hair, which
her

her

light brown
and is
cut

shoulders The

low

across

forehead. Oil
on

background
H.

is dark
12".

olive.

canvas;

19^", W.

43
lent

LITTLE
by the

GREEN
national

CAP
gallery of art

(freer
Half turned almost her green.

collection)

length

of

little
to

girl,seated,
the

the

figure
face
on

three-quarters
full front. auburn hair. A

right and
cap

the
rests

yellow-green

The

background
dark

is

olive-

Butterfly right
Oil
on near

monogram, the

silhouette,

on

the

edge.
H.

canvas;

20", W.

12".

44

THE
lent
by

LITTLE
the national

FAUSTINA
gallery
of art

(freer
Half hands and

collection)

length
folded her brown

of in

little her

girl seen
Her

full front, eyes

are

her

lap.

brown falls

hair, parted in the

middle,

38

WHISTLER

EXHIBITION,

NUMBERS

45
a

AND

46
dress

about
cut

her
at

shoulders. the

She

wears

dark

low

neck, disclosinga stringof beads.

is dark
at

The The

background picture
was

olive-gray.
Paris Memorial bition Exhi-

the

(No. 43).
Oil
on

canvas;

H.

19!", W.

if".

45

LANAPOLITAINEiRosEETOR
LENT BY RICHARD A. CANFIELD

bust

full face, portrait,

woman.

of
a

dark
rose

haired, dark
colored dress

eyed
with
at

She

wears

dark

trimming
Dark olive

around shows
a

the

throat, which

V-shaped opening of coral single row

than dark

beads.

background. scarcely more

a

Butterfly monogram,
shadow,
The model
near

the for
as

center
was

of

right-hand edge.
Mme. for and Carmen Whistler. then
an turned re-

this
a

probably posed
years

Rossi, who,
She lived
to

child, had
for
some

in

Naples
Paris

and Whistler

in

1898 opened
gave
i

art

school Oil
on

at

which

criticisms.

canvas;

H.

19I", W.

if".

46
S O U

GRAY
R I S

AND

SILVER:

LA

PETITE

LENT

BY

ROSALIND

BERNIE

PHILIP

The

bust

portraitof
She
wears

a a

young
dark

woman

seen

almost about

full face.

gray

dress

and

39

THE

METROPOLITAN

MUSEUM

OF

ART

her

neck

is

gray

feather

boa

held

by

her

right
is

hand.

Butterfly placed
This
on

monogram, the
dress
was

dark
left.

silhouette,

at

the

picture

shown

in

the

Memorial Paris

hibitions Ex-

in Boston Oil
on

(No. 27) and

(No.

51).

canvas;

H.

19^^ W.

if".

40

INDEX
NO.

Falling Rocket,
and

The

(Nocturne

in

Black
12

Gold)
Venice The La Thames
...

Ferry, The, Gray

and and

21

Silver: Silver:

30
.

Gray
Golden and

Petite

Souris in

46

Screen, Gold,

The

(Harmony
and Rose:

Purple
5,
Music
ij

11)
The

Harmony
Room

in Green

Harmony
Golden

in

Purple
The The of the

and

Gold,

II:

The ^ 27 17

Screen

Isles of Venice,

Japanese Dress,
Lange
and Leizen Rose F.
"

Six

Marks:

Purple
4

Leyland,
Little Little Little Little

R., Portrait

of of

...11

Leyland, Florence,
Blue

Portrait The

14

Bonnet,
The

(Blue

and

Coral)

39
44,

Faustina,
Green

Cap Sophie Cap,

of of Soho, The

4,3,

Lady
Pink Rose White

(Rose

and
41

Gold)
Little Little Little The

(Rose

and The

Red)
. .

36 38
6 25

Lyme
Girl,

Regis,
The

(Symphony

in

White,

II)

Long
Master Music

Venice Smith of The

Lyme

Regis,

The
.

37
and
\

Room,

(Harmony

in Green

Rose)
42

INDEX
NO.

Napolitaine,La
Nocturne: Reach Nocturne: Nocturne Rocket Nocturne: Nocturne: Blue Venice The
Blue

(Rose
and

et

Or)
...

45 Battersea 16

Blue

Silver

"

and Black

Silver
and

"

Bognor
Gold:

in

Falling
12

and

Gold

"

Valparaiso
in

7
24

Ocean,

(Symphony
The

Gray

and 8

Green)

Open
Petite

Fan,

(Blue

and and

Rose)
. .

35

Souris, La
Tom and Six Rose

(Gray
(The
...

Silver)
. .

46
42

Pouting
Purple
the

Lange
Or)
...

Leizen
.

of
.

Marks)
Le Red: Gold:

4
40

Raconteur,
Rose Rose and and

(Vert
The The

et

Little

Pink

Cap

36

Little

Lady

Sophie
41

of Soho Rose
et

Or

(La Napolitaine)

...

45
.

Sarasarte

(Arrangement
A

in

Black)
.

29
22

Street, A, Venice

Study
Ocean

in Red, in

34

Symphony Symphony Symphony

Girl

Gray
and

and

Green:

The 8

in Violet in

Blue
. .

31

White,

I:

The

White 3

Symphony
White Girl

in

White,

II:

The

Little 6

43