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Technique
Arrangement in Flesh Colour and Brown: Portrait of Arthur J. Eddy, Art Institute of Chicago
The medium and technique have been analysed by Kimberley Muir at the Art Institute of Chicago. It was thinly painted on a coarse plain-weave canvas, the threads being uneven in thickness. The ground is grey, primarily calcium carbonate and black, and was probably absorbent; the pigments used in the portrait include lead white, iron oxide or earth pigments, umber, cobalt blue, vermilion, and bone black. 1
There are signs of pentimenti, particularly around the head and shoulders. At one time, the figure may have been slightly higher up on the canvas, and the paper in his left hand was moved more than once, and was also higher; furthermore his right arm and shoulder were slightly further to left. The whole canvas is thinly painted, and rubbed and scraped lightly as part of the painting process. The bottom of the coat, trousers and shoes have been partly outlined in black to distinguish them from the brown floor. There are signs of reworking and rubbing down and repainting around the head. The face itself is carefully modelled, the brushstrokes for the eyes and mouth appearing surprisingly fresh and spontaneous.
Conservation History
The conservation and condition of the painting are discussed by Kimberley Muir in the Art Institute of Chicago online catalogue. Muir writes:
'Whistler’s dark palette and his likely use of a resinous painting medium, combined with residues of yellowed natural-resin varnish on the surface, have probably contributed to a degree of overall darkening of the image … The painting is in good condition overall. The original canvas is weak and deteriorated around the edges, with some small tears and holes at the corners. The strip lining, loose lining, and a padded insert help to reinforce the canvas.' 2
It is difficult to tell whether the current condition of the painting is due to the artist's painting processes or subsequent treatment. There are minor abrasions and paint loss, and some retouching, and the painting now has a semigloss surface finish.
Frame
1894/1895: it was probably framed in America shortly after it was bought by the sitter. 3
Arrangement in Flesh Colour and Brown: Portrait of Arthur J. Eddy, Art Institute of Chicago
Notes:
1: Muir, Kimberley, 'Cat. 35 Arrangement in Flesh Color and Brown: Portrait of Arthur Jerome Eddy, 1894: Technical Summary,' in Whistler Paintings and Drawings at the Art Institute of Chicago, The Art Institute of Chicago, 2020, URL.
2: Muir 2020, op. cit.
3: Dr S. L. Parkerson Day, Report on frames, 2017; see also Parkerson 2007 [more] .
Last updated: 27th April 2021 by Margaret
