Composition

The pose of the woman, seen from the back with her head in profile and hands clasped behind her, is similar to that of Frances Leyland (1834-1910) in Symphony in Flesh Colour and Pink: Portrait of Mrs Frances Leyland [YMSM 106], but in reverse. However, the effect is completely different because of the changes in dress-shape and detail, from the artistic design of the 1870s to the extreme silhouette of the early 1890s. 1 Furthermore the pastel shades of the aesthetic interior behind Mrs Leyland's pale pink dress change in Rose et or: La Tulipe to a dramatic contrast between the pink and rose of the dress and the rich reddish brown of the dark background.

Technique

The canvas is of a coarse, fairly open weave. It has been lined with a tightly woven plain tabby canvas. 2 Whistler worked on this portrait in Paris, as well as in the Fitzroy Street studio in London. Despite the frequent reworkings of the subject, the brushwork appears fresh, bold and vigorous.

In July 1896 E. G. Kennedy visited Whistler's Fitzroy Street studio and was horrified to find Whistler repainting a portrait of Ethel Whibley:

'... Whistler, instead of finishing the hand only, had repainted the picture from top to bottom & the beautiful tone had, of course, disappeared. In my astonishment I said - "Good Lord you've spoiled my picture".' 3

Although this probably refers to Rose et or: La Tulipe, it could have applied to Red and Black: The Fan [YMSM 388]. Both were never completely 'finished' but remained in Whistler's studio.

However, references to this 'spoiled' picture as 'red' (by Whistler) and 'pink' (by Kennedy), could have applied to the earlier appearance of Rose et or: La Tulipe, since it was briefly entitled 'Rose et rouge; – la Tulipe' in 1894. 4 Originally the coral-red visible at the neck and shoulders may have been more dominant. The skirt is still outlined in red at the hem but the dress is painted very freely in several shades of dull pink.

The painting is not highly finished. The matt pink of Mrs Whibley's ears and the blurred painting of the fringe is probably intentional, and certainly attractive, but her left arm is rather disjointed and the hands have been rubbed down.

Conservation History

An early photograph shows few alterations except that the picture may have darkened.

There is a water stain on the verso, at lower right. There are minor abrasions at the edges, from the frame. There is some craquelure, and drying cracks either side of the waist and on her left shoulder. It is thinly and slightly unevenly varnished, with some 'blooming' on the dark reddish brown background. However, the paint layers and support are in a generally stable and sound condition. 5

Frame

Convex Portrait Whistler with liner, 206 x 104 cm. Whistler probably started this picture in Paris, or worked on it there for some time. The frame bears the label of Andre Chenue (fl. 1890s), packers and shipping agents, 5 rue de la Terrasse, Paris. 6