Composition

The portrait is closely related to a more highly finished self-portrait that remained in Whistler’s estate, Self-Portrait [YMSM 461]. It is, however, slightly more richly coloured than the other Self-Portrait.

A third self-portrait, Gold and Brown [YMSM 462], was worked on in Paris early in 1898, and Whistler could have been working on both, or all three, at that time.

Technique

It was painted thinly on a very fine open weave tabby canvas. The paint is slightly thicker on and around the head. Touches of brown in the background, the thick white of the collar, and red of the lips, bring the portrait to life, although some areas, like Whistler's forehead, and his coat, have been rubbed down a little; this appears to have been part of the artist's habitual technique in the 1890s. There is almost no paint along the lower edge of the canvas.

Conservation History

The canvas has not been lined, and the glossy varnish is a little uneven, but it is in good sound condition. 1

Frame

It is in a Grau-style frame. 2 Size: 58.4 x 37.9 x 3.6 cm.