Composition

Beatrice Whistler also drew the model while she was posing for Whistler, from further to the right, and at an early stage in sittings. The angle of the model's head is slightly different. The main differences in pose are that her hands seem closer together, her right hand is silhouetted against the background, and the hat is slightly less tall.

Changes are visible in the actual portrait, and partly reveal this earlier pose: in the oil, both her hands were originally about 25.4 mm (1 inch) further left, so that her right hand was seen against the background, not the black dress. Her left hand was also originally higher, so that the gloves she holds were also painted higher up.

Technique

Lining has emphasised the weave of the medium-weight canvas. It appears to have been unevenly primed. There is a pink priming with a slightly greyer pink imprimatura. 1

On the back of the stretcher is the stamp of Emile Blanchet (1852-1931) of 20 rue St-Benoit, Paris. Emile Blanchet (1852-1931) moved from 32 rue Bonaparte to 20 rue St-Benoit, Paris, by 1888. The small panel for Study for Three Decorative Panels Representing 'The Landing of Columbus', 'Queen Isabel la Católica of Spain' and 'Queen Elizabeth of England' [YMSM 396], dating from 1892/1895, bears a similar stamp. Several earlier Whistler paintings bear Blanchet's stamp, and may have been relined or treated in some way by the firm.

In Rose et argent: La Jolie Mutine, the paint is over-thinned and very thinly applied with a soft long-haired brush, leading to poor film formation (there are narrow wriggly drips through the paint at the left edge of the dress, and areas of cracking in the black of the skirt). The face shows a comparatively high degree of finish, with little trace of brush strokes. The hem of the dress is marked clearly, but the floor is painted sketchily and the junction of floor and wall is only roughly defined. There is no obvious rubbing-down. 2

Conservation History

The varnish is thin and does not extend to the edges with every brushstroke, suggesting it is the original one. 3

The painting may have been treated by Harry Woolford in 1977, and a condition report was prepared by Clare Meredith in 2001. Although there is some local craquelure, and the varnish is discoloured, overall the painting is in good, stable condition. 4

Frame

Portrait Whistler, 212.0 x 109.7 x 7.5 cm. 5