Whistler painted 'Arrangement in Grey and Black', version no.1 was of his mother, which philosopher and historian was the subject of version no.2?
"Painter's mother"", and gives Whistler's address as The White House, Chelsea Embankment. The sensibilities of a Victorian era viewing audience would not accept what was apparently a portrait being exhibited as an ""arrangement"", hence the addition of the explanatory title ""Portrait of the Painter's mother"". From this the work acquired its enduring nickname of simply ""Whistler's Mother"". After Thomas Carlyle viewed the painting, he agreed to sit for a similar composition, this one titled """". Thus the previous painting became, by default, ""Arrangement in Grey and Black, No. 1"". Whistler eventually pawned the painting, which was acquired in 1891 by"
"Anna McNeill Whistler Anna Matilda (née McNeill) Whistler (September 27, 1804 – January 3, 1881) was the mother of American-born, British-based painter, James McNeill Whistler, who made her the subject of his famous painting ""Arrangement in Grey and Black No.1"", often titled ""Whistler's Mother"". Anna McNeill Whistler was born in Wilmington, North Carolina, to Charles Daniel McNeill (1756 - 1828), a physician, and Martha Kingsley McNeill, daughter of Zephaniah Kingsley, Sr. (one of the founders of the University of New Brunswick) and youngest sister of Zephaniah Kingsley, Jr. (a slave trader and plantation owner, and the husband of African-born Ana"
"Whistler's Mother Arrangement in Grey and Black No.1, best known under its colloquial name Whistler's Mother, is a painting in oils on canvas created by the American-born painter James McNeill Whistler in 1871. The subject of the painting is Whistler's mother, Anna McNeill Whistler. The painting is , displayed in a frame of Whistler's own design. It is exhibited in and held by the Musée d'Orsay in Paris, having been bought by the French state in 1891. It is one of the most famous works by an American artist outside the United States. It has been variously described as an"
"– what a study in grey would be in painting."" Whether Debussy was using the term ""color"" to refer to orchestration or harmony, critics have observed ""shades"" of a particular sound quality in his music. Notes Further reading Whistler's Mother Arrangement in Grey and Black No.1, best known under its colloquial name Whistler's Mother, is a painting in oils on canvas created by the American-born painter James McNeill Whistler in 1871. The subject of the painting is Whistler's mother, Anna McNeill Whistler. The painting is , displayed in a frame of Whistler's own design. It is exhibited in and held"
"By 1871, Whistler returned to portraits and soon produced his most famous painting, the nearly monochromatic full-length figure entitled ""Arrangement in Grey and Black No.1"", but usually referred to as ""Whistler's Mother"". A model failed to appear one day, according to a letter from his mother, so Whistler turned to his mother and suggested that he do her portrait. He had her stand at first, in his typically slow and experimental way, but that proved too tiring so the seated pose was adopted. It took dozens of sittings to complete. The austere portrait in his normally constrained palette is another"
"was combative. He found a parallel between painting and music and entitled many of his paintings ""arrangements"", ""harmonies"", and ""nocturnes"", emphasizing the primacy of tonal harmony. His most famous painting is ""Arrangement in Grey and Black No. 1"" (1871), commonly known as ""Whistler's Mother"", the revered and often parodied portrait of motherhood. Whistler influenced the art world and the broader culture of his time with his artistic theories and his friendships with leading artists and writers. James Abbott Whistler was born in Lowell, Massachusetts on July 11, 1834, the first child of Anna McNeill Whistler and George Washington Whistler, and"
"subject of the painting ""Arrangement in Grey and Black No.1"" (""""Whistler's Mother"""") by James McNeill Whistler; Henry Witham (1779–1844), English researcher into the internal structure of fossil plants; and William Wollaston (1766-1828), English chemist and physicist. He had become acquainted with Darwin before the latter embarked in 1831 on the voyage in HMS ""Beagle"" which made his name, and had asked him to collect information on ""Fungia"", a genus of coral; which Darwin did. As a footnote to history, in 1842 Darwin thanked Stokes for the recent loan of his snuffbox. The library of the Royal College of Music preserves"
"manner and sketchiness of the wildest and roughest kind, [it has] a genuine feeling for colour and a splendid power of composition and design, which evince a just appreciation of nature very rare amongst artists."" The work is unsentimental and effectively contrasts the mother in black and the daughter in white, with other colors kept restrained in the manner advised by his teacher Gleyre. It was displayed at the Royal Academy the following year, and in many exhibits to come. In a second painting executed in the same room, Whistler demonstrated his natural inclination toward innovation and novelty by fashioning"
"with van Dyck. Another prominent American portraitist who trained abroad was William Merritt Chase. American society painter Cecilia Beaux, called the ""female Sargent"", was born of a French father, studied abroad and gained success back home, sticking with traditional methods. Another portraitist compared to Sargent for his lush technique was Italian-born Parisian artist Giovanni Boldini, a friend of Degas and Whistler. American-born Internationalist James Abbott McNeill Whistler was well-connected with European artists and also painted some exceptional portraits, most famously his ""Arrangement in Grey and Black, The Artist's Mother"" (1871), also known as ""Whistler's Mother"". Even with his portraits, as"
"""Harmony in Red: Lamplight"" (GLAHA 46315), a full-length portrait. ""The Siesta"" (C.159) and ""By the Balcony"" (C.160). Louise Jopling (1843–1933), a poet and portrait painter, also painted a portrait of Beatrice. Beatrice Whistler Beatrice Whistler (also known as Beatrix or Trixie; 12 May 1857 – 10 May 1896) was born in Chelsea, London on 12 May 1857. She was the eldest daughter of ten children of the sculptor John Birnie Philip and Frances Black. She studied art in her father's studio and with Edward William Godwin who was an architect-designer. On 4 January 1876 she became the second wife of"
"Zephaniah Kingsley Sr. Zephaniah Kingsley Sr. (April 11, 1734 – circa 1792) was an affluent British merchant, a loyalist during the American Revolution and one of the seven founders of the University of New Brunswick, Canada's oldest English language university. He was the father of slave trader and plantation owner Zephaniah Kingsley Jr. and the grandfather of Anna McNeill Whistler — better known as ""Whistler's Mother"" in the painting Arrangement in Grey and Black No.1 by her son (and Kingsley's great-grandson) James McNeill Whistler. Son of Elizabeth Wright and Benjamin Kingsley, Zephaniah was born in Leake (Lincolnshire, England) into a"
"Zephaniah Kingsley Sr. Zephaniah Kingsley Sr. (April 11, 1734 – circa 1792) was an affluent British merchant, a loyalist during the American Revolution and one of the seven founders of the University of New Brunswick, Canada's oldest English language university. He was the father of slave trader and plantation owner Zephaniah Kingsley Jr. and the grandfather of Anna McNeill Whistler — better known as ""Whistler's Mother"" in the painting Arrangement in Grey and Black No.1 by her son (and Kingsley's great-grandson) James McNeill Whistler. Son of Elizabeth Wright and Benjamin Kingsley, Zephaniah was born in Leake (Lincolnshire, England) into a"
"to his death in 1914. A few months before his death, Canfield sold his collection of etchings, lithographs, drawings and paintings by Whistler to the American art dealer Roland F. Knoedler for $300,000. Three of Canfield's Whistler paintings hang in the Frick Museum in New York City. Canfield came to own numerous paintings by Whistler including La Mère Gérard (2) (YMSM 27), Symphony in Grey and Green: The Ocean (YMSM 72), Arrangement in Black: Portrait of F. R. Leyland (YMSM 97), Arrangement in Brown and Black: Portrait of Miss Rosa Corder (YMSM 203), Nocturne in Blue and Silver: The Lagoon,Venice"
"Black"". She also was the initial model for what would be the ""Portrait of Miss Florence Leyland"", as well as ""Harmony in Grey and Peach Colour"", numerous other oils, drawings, watercolors, etchings, and lithographs. Franklin had two daughters by Whistler: Ione (born circa 1877) and Maud McNeill Whistler Franklin (born 1879). She sometimes referred to herself as 'Mrs. Whistler', and in the census of 1881 gave her name as 'Mary M. Whistler'. She was not always well treated by Whistler; at the time of his libel trial with John Ruskin in January 1879 he left Franklin, then pregnant, in a"
"is noted as an effect of those influences. ""Arrangements"" of colour had become important aesthetic components of paintings. Fox would have been aware of the most famous ""arrangement"" – Whistler's ""Arrangement in Grey and Black No 1"" (known as ""Whistler's Mother"") – which had been painted in 1871 and acquired by a Parisian museum in 1891. Fox's arrangement of the mauve and black colours (seen again in ""On the Balcony""), has been compared to the way ""a still-life painter would arrange the objects of his composition, for greatest formal effect"". Various elements of the painting, including ""the lack of perspective"""
"subject he would return to later, in two paintings that would be given the titles of ""Symphony in White, No. 2"" (1864) and ""Symphony in White, No. 3"" (1865–67). The panel is long and slender, and the model's pose and the shape of her clothes further emphasise the vertical nature of the painting. The woman is bold, almost confrontational, in her direct gaze at the viewer, and her features are highly individualised. Art critic Hilton Kramer sees in Whistler's portraits a charm and a combination of craft and observational skills that his more radical landscapes lacked. Though Whistler himself resented"
"due to her dominant presence in the household. In January 1864, Whistler's mother Annalater depicted in the painting ""Arrangement in Grey and Black""arrived to stay with her son in London. As a result, Heffernan had to move out of the apartment, and only visited as a model. Still, Heffernan's presence displeased Whistler's mother, and his relationship with both women became strained. Whistler started on ""Symphony in White, No. 3"" perhaps as early as July 1865. It was the last of his paintings for which Heffernan was a model. He used Milly Jones, the wife of an actor friend, as the"
"mon, fire away!'"" There exist four preparatory studies in oil, and several drawings related to the finished painting. Several sketches in the Freer Gallery of Art suggest that while Whistler based the composition on the painting of his mother, he also considered variations: a chalk drawing shows Carlyle seated at an angle to the wall, a corner of the room shown at left, and without the coat that would be thrown over his lap in the painting. In the painting Whistler reverted to the planar composition of ""Arrangement in Grey and Black: Portrait of the Artist's Mother"", and included the"
"so poetically say all that I want to say and ""no more"" than I wish! At that point, Whistler painted another self-portrait and entitled it ""Arrangement in Gray: Portrait of the Painter"" (c. 1872), and he also began to re-title many of his earlier works using terms associated with music, such as a ""nocturne"", ""symphony"", ""harmony"", ""study"" or ""arrangement"", to emphasize the tonal qualities and the composition and to de-emphasize the narrative content. Whistler's nocturnes were among his most innovative works. Furthermore, his submission of several nocturnes to art dealer Paul Durand-Ruel after the Franco-Prussian War gave Whistler the opportunity"
"Exhibition of the Royal Academy of Art in London (1872), after coming within a hair's breadth of rejection by the Academy. This episode worsened the rift between Whistler and the British art world; ""Arrangement"" was the last painting he submitted for the Academy's approval (although his etching of Old Putney Bridge was exhibited there in 1879). Vol. VIII of ""The Royal Academy of Arts: A Complete Dictionary of Contributors and their work from its foundation in 1769 to 1904"" (by Algernon Graves, F.S.A., London 1906) lists the 1872 exhibit as no. 941, ""Arrangement in Grey and Black: Portrait of the"
"sold his collection of etchings, lithographs, drawings and paintings by Whistler to the American art dealer Roland F. Knoedler for $300,000. Three of Canfield's Whistler paintings hang in the Frick Museum in New York City. Canfield came to own a number of paintings by Whistler including La Mère Gérard (2) (YMSM 27), Symphony in Grey and Green: The Ocean (YMSM 72), Arrangement in Black: Portrait of F. R. Leyland (YMSM 97), Arrangement in Brown and Black: Portrait of Miss Rosa Corder (YMSM 203), Nocturne in Blue and Silver: The Lagoon,Venice (YMSM 212), Arrangement in Black and Gold: Comte Robert de"
"and one of the most accomplished portraitists of his time. However, the artist had become bankrupt in 1879, following his lawsuit against the critic John Ruskin. In 1881, Lady Meux offered Whistler his first significant commission after the bankruptcy. Her full-length portrait, known as ""Arrangement in Black, No. 5 (Portrait of Lady Meux)"" now hangs in the Honolulu Museum of Art. It shows her dressed in black with a long white fur coat, diamond tiara, diamond necklace, and diamond bracelet. Reportedly, the painting was commended by Edward VII of the United Kingdom (then Prince of Wales) and Princess Alexandra, when"
"of his most famous painting, ""Arrangement in grey and black number one"" (1871), better known as ""Whistler's Mother"". Some 19th-century French painters had a low opinion of black: ""Reject black,"" Paul Gauguin said, ""and that mix of black and white they call gray. Nothing is black, nothing is gray."" But Édouard Manet used blacks for their strength and dramatic effect. Manet's portrait of painter Berthe Morisot was a study in black which perfectly captured her spirit of independence. The black gave the painting power and immediacy; he even changed her eyes, which were green, to black to strengthen the effect."
"painting a little below the middle. Whistler assigned many of his paintings titles with terms like “arrangement” and “harmony”, which may be interpreted as either musical or abstract. A third painting known as ""Portrait of Lady Meux in Furs"" was also commenced in 1881. This canvas was probably destroyed by the artist in a dispute with the sitter, however a photograph of it exists in the Whistler Archives, University of Glasgow, Scotland. Both the Honolulu painting and the destroyed painting belong to a series of “black portraits”, paintings Whistler executed at various stages of his career in a palette dominated"
"they saw it in the artist’s studio. The painting was also exhibited in the 1882 Paris Salon, where it was enthusiastically received. Whistler painted a second portrait of Lady Meux in 1881 called ""Harmony in Pink and Grey (Portrait of Lady Meux)"" which belongs to the Frick Collection in New York City. This full-length portrait shows the subject on stage standing before a pinkish-grey curtain, in an obvious allusion to her alleged stage career. She wears a light grey dress trimmed in pink satin. The butterfly emblem that Whistler used as a signature is on the right side of the"
"his artistic philosophy made him change his mind, and from the time of its first exhibition it has been called by its musical title. Symphony in White, No. 3 Symphony in White, No. 3, is a painting by James Abbott McNeill Whistler. The work shows two women dressed in white, one sitting on a sofa and the other resting on the floor. The model on the sofa is Joanna Heffernan, the artist's mistress. By calling the painting ""Symphony in White, No. 3"", Whistler intended to emphasise his artistic philosophy of corresponding arts, inspired by the poet Charles Baudelaire. The presence"
"his picture was the American artist James McNeil Whistler, who created a series of paintings called ""symphonies"" or ""noctures"" of color, including ""Symphony in gray and green; The Ocean"" between 1866 and 1872. The late nineteenth century also brought the systematic study of color theory, and particularly the study of how complementary colors such as red and green reinforced each other when they were placed next to each other. These studies were avidly followed by artists such as Vincent van Gogh. Describing his painting, The ""Night Cafe"", to his brother Theo in 1888, Van Gogh wrote: ""I sought to express"
"his 1868 book ""William Blake: a Critical Essay"". Later, Whistler began referring to ""The Little White Girl"" as ""Symphony in White, No. 2"". By the musical analogy, he further emphasized his philosophy that the composition was the central thing, not the subject matter. One of the most conspicuous elements of the painting is the ring on the model's ring finger. Resting on the mantle piece, it becomes a focal point of the composition. The ring was a device of which Whistler was conscious; it had not been present in ""The White Girl"". Though he and Hiffernan were not married, the"
"also inspired by Théophile Gautier's 1852 poem ""Symphonie en Blanc Majeur"". Whistler was not entirely content with the realism the painting displayed in its original form, a trait he blamed on the influence Courbet had on him at the time. Later, between 1867 and 1872, he reworked it to give it a more spiritual expression. Even though ""Symphony"" was begun before Whistler first met Rossetti, the Pre-Raphaelite influence is still clear. The painting was an early experiment in white on white, with a woman standing in a white dress in front of a white background. This colour scheme was a"
"blue interior. ""Princess"" was painted between 1863 and 1865 by James Abbott McNeill Whistler, with Christine Spartali, the sister of Pre-Raphaelite artist Marie Spartali Stillman, serving as the model; Owen Edwards of ""Smithsonian"" describes Spartali as ""an Anglo-Greek beauty whom all the artists of the day were clamoring to paint"". ""Princess"" is one of several of Whistler's works painted during this period that depict a Western woman in Asian surroundings and Asian clothes. Like in several other of his works, Whistler used sketches to prepare the general layout of the work. Other details were added in later. A surviving sketch"
"London. She later relocated to St Mary's Terrace, Hastings, east Sussex. She was surprised by her son's ""flamboyant Bohemian lifestyle""; however, she tolerated it, and befriended some of his friends as well. This was around the time the famous painting was made, although it was not the only one. Anna was 67 during the painting of the picture. She died a decade later and is buried in Hastings Cemetery. Anna McNeill Whistler Anna Matilda (née McNeill) Whistler (September 27, 1804 – January 3, 1881) was the mother of American-born, British-based painter, James McNeill Whistler, who made her the subject of"
"Maud Franklin Maud Franklin (9 January 1857 – ca. 1941) was an English artist and the mistress of and model for artist James McNeill Whistler. Franklin was born in Bicester, Oxfordshire, England, one of six children of Charles Franklin, an upholsterer and cabinetmaker, and Mary Clifton, after whom she was christened 'Mary'. She may have posed for Whistler as early as 1872, as a stand-in for his portrait of Mrs. Frances Leyland, when she was fifteen. By the late 1870s, she was serving as a model to Whistler for etchings and painted portraits, most notably the ""Arrangement in White and"
"Mrs. Beckington (Alice Beckington) Mrs. Beckington is a 1913 miniature painting in watercolour on ivory by Alice Beckington. It is in the collection of the Metropolitan Museum of Art in New York. The miniature painting was acquired by the Metropolitan Museum of Art in 1914. The painting was part of the Pennsylvania Academy of the Fine Arts and Pennsylvania Society of Miniature Painters' 12th annual exhibition. The work depicts Alice Beckington's mother. The artist signed the painting on the front top left. The painting was influenced by ""Arrangement in Grey and Black No. 1"" (1871) by James Abbott McNeill Whistler."