Detail from The Canal, Amsterdam, 1889, James McNeill Whistler, The Hunterian, University of Glasgow

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Parasol; red note

Composition


                    Étude, Revue Indépendente, vol. 1, 1886, repr.
Étude, Revue Indépendente, vol. 1, 1886, repr.

                    Parasol; red note, Drouot, Paris, 25 November 1903 (lot 2)
Parasol; red note, Drouot, Paris, 25 November 1903 (lot 2)

                    Parasol; red note, Thomas Colville Fine Art
Parasol; red note, Thomas Colville Fine Art

This is a rare example of a drawing totally reworked, with a nude model transformed into a model draped in robes. It is possible that, responding to criticism of the nude, he intended to show that the clothed figure was as sensuous as the nude. The twist of the body, and glittering gauze drapery, emphasizing breasts and hips, appear unusually seductive.

The vase is a little classical accessory, the costume and parasol are consistent, and the figure has something of the quality of a Tanagra statuette. The reworking of the pastel, at the time when Whistler's interest in classical art was re-awakened, may have influenced the choice of costume.

Technique


                    Parasol; red note, Thomas Colville Fine Art
Parasol; red note, Thomas Colville Fine Art

There are signs of alterations to her feet, and her left foot was left unfinished. The curves around the sunshade are vague, so that it is unclear where it starts and stops. The pastel may sometimes have been moistened before application, to darken and vary the colours.

Conservation History

There are slight signs of water staining along the lower edge and sides.

Last updated: 23rd May 2021 by Margaret