Purple and Rose: The Lange Leizen of the Six Marks

James Abbott McNeill Whistler 1864

The Artist:1834-1903

      Born in Massachusetts in 1834 Father was an engineer Travelled to Russia and England as a boy Returned to US after Father’s death Enrolled at West Point   Little success as student of military arts Not academic success 1855: After working briefly as a cartographer emigrated to Europe

The Artist: Continued

       Interested in art at early age Art classes in St. Petersburg from 1845-48 Continued while travelling in London in 1847-48 Moved to Paris, adopted bohemian lifestyle Studied at studio of Charles Gleyre, mentor to French Impressionists Befriended Gustave Courbet Self directed study – copied works of those he admired  Rembrandt van Rijn  Learnt to create emotional and evocative works with limited range of tones

The Artist: Continued

    Contradiction to Academies in France and England   Did not think art had to be moralizing or enlightening Academic painters valued history painting Promoted “art for art’s sake” Pieces evocative, capture moods and emotions through subtle use of color Titled pieces to recall music and its emotive effects  Ex. Symphony in White, No.1: The White Girl(1862), Arrangement in Grey and Black: The Artists Mother(1871), Nocturne in Black and Gold: The Falling Rocket(1874)

Nocturne in Black and Gold: The Falling Rocket

  Made Whistler Famous Critic John Ruskin(Turner Supporter) criticized in harsh terms  “Flinging a pot of paint in the public’s face”  Whistler sued and won libel case   Little compensation Trial included discussion of the goal of art and the role of the artist

Eastern Influence in France

    1870s – Impressionists in France fascinated by Japanese Art   Especially inexpensive woodblock prints Claude Monet and Vincent Van Gogh collected hundreds, influence on work clearly visible Whistler began incorporating these influences years before Like contemporaries in England, Great admirer of Chinese art, especially porcelain Royal academy viewers of Purple and Rose: The Lange Leizen of the Six Marks would recognize blue and white porcelain objects

Purple and Rose: The Lange Leizen of the Six Marks

Purple and Rose: The Lange Leizen of the Six Marks

  Small painting focusing on female figure surrounded by beautiful Chinese objects, likely part of Whistler’s collection Model – Joanna Hiffernan  Whistler’s Mistress in the 1860s  Modeled for number of his works   Ex. Symphony in White, No.1: The White Girl and Symphony in White, No.2 The Little White Girl(1864-65) Also had relationship with Courbet, posed in his studio

Purple and Rose: The Lange Leizen of the Six Marks

     Shown seated in a relaxed, casual pose Body marks diagonal line from the lower left to upper right corner  Nearly fills frame Dressed in Chinese brocade robe   Decorated with floral motif in peach and rose Under layer and trim on robe in dark purple(Inspired Philadelphia Museum of Art title Purple and Rose Supports blue and white object in left hand, brush in right hand like she is imagining herself painting vessel Make up accentuates features, hair pulled back tightly, to imitate Chinese courtly fashion

Purple and Rose: The Lange Leizen of the Six Marks

      Surrounding Hiffernan, number of Chinese objects laid out as if on display Several blue and white  Teacup and large ginger jar Painted fan decorated with a crane and a tray Group of brushes on table behind her A few other objects to detract form Hiffernan and surrounding imports Colors in background are beige and brown, more vivid tones of robe and porcelain are accentuated

The Porcelain

   Objects highlighted are Whistler’s own.

 He is an avid collector Featured porcelain is blue and white   First produced in about the 14 th century 17 th Century created for export to Europe   Europeans later copy styles Lange Leizen is a pattern with willowy ladies; “Long Eliza” “Six Marks refers to the markings that verify authenticity

World at the time

  Obsession with Chinese porcelain connected to a rise in the consumption of Chinese tea in the early 19 th century By the time this work is painted 90% of the tea in England was from China