Composition

David Park Curry suggests that in this portrait, Whistler attempted 'to capture the enigmatic half-smile of Leonardo's Mona Lisa.' 1

Technique

Whistler made a 'rough sketch' of Sophie Burkitt (1882-1959), before working on her portrait. Work took place 'at intervals for some weeks' in London, and it was continued at 110 rue du Bac where Sophie had about three sittings in six weeks. 2 Even after it was bought by Freer, Whistler wrote, 'I know of a touch I must add.' 3 The portrait seems to have been travelling back and forth between London and Paris. Three months later, Whistler told his sister-in-law Rosalind Birnie Philip (1873-1958), 'You had better now at once see about getting off the "Sophie of Soho" through Mr. Marchant of Goupils - to be sent to their house in Paris.' 4

According to the Pennells, Whistler continued to work at 8 Fitzroy Street on 'the Little Lady Sophie that he has worked on since the International last year, giving it finer colour and tone.' 5 Considering that the Pennells said that Whistler worked on it for a whole year after it was first exhibited in 1898, there are remarkably few signs of alterations.

Her hair seems to have been softened and details of her hair at the top and right, and particularly down her right arm, have been smoothed over. Many areas were rubbed down almost to canvas, and in some places show the actual weave, as part of the working process. The result is many soft blurred areas with minimal paint. Her forehead and nose have a stroke of paint as a highlight, and, by contrast, the front of her bust was darkened. The butterfly was possibly moved to the right.

Conservation History

Freer Gallery records note that it was cleaned and resurfaced in 1922, 1935 and 1951, and surfaced in 1933; the heavy discoloured varnish was removed by Ben Johnson in 1965, and it was cleaned and revarnished.

Frame

An elliptical frame.