Technique

It is painted extremely fluidly. At first glance it is an intensely realistic scene, with a subtle evocation of atmosphere in the gradations of grey from lilac to greenish blue on the river. But the very clear cut outline of the shore and the boats gives the picture a flatter and more decorative quality.

The canvas is roughly equivalent to the French 'toile de 12' (61 x 46cm) and may have been acquired in Paris.

Conservation History

An old photograph suggests it has darkened.

According to Freer Gallery of Art conservation records, heavy varnish and overpainting was removed with difficulty in 1921, and it was relined, cleaned and surfaced in the following year, and cleaned and surfaced again in 1949. In 1965 the relining was removed and it was relined again; it was also cleaned, and abraded and damaged areas were retouched before it was revarnished.

Frame

In preparation for the Goupil exhibition the painting and frame were put in order, and perhaps the frame was replaced, by Stephen Richards (1844-1900) and Frederick Henry Grau (1859-1892). Whistler wrote to Richards, 'We are coming down on Wednesday morning or afternoon, by which time I suppose you will have done the little "Nocturne" for Mr. Orchar, and Gra[u] will have brought the frame for it.' 1 It is in a Grau-style 1892 frame.