Currently open at the Arthur M. Sackler Gallery in Washington, DC.
This is an exhibition about a painting that does not exist. A rescued fragment of the large painting, numerous figure studies, and the frame that Whistler decorated specifically for the finished work are among the tantalizing clues that hint at the masterpiece that might have been.
The saga began in 1867, when American artist James McNeill Whistler (1834–1903) received a commission from a promising new patron, the nouveau riche shipping magnate Frederick Richards Leyland (1832–1892). Leyland paid the artist to create a “symphony in white,” the fourth in a series of figurative works in which Whistler experimented with idealized arrangements of color and form. If Whistler had completed the large painting, it would have hung opposite his Princesse du pays de la porcelaine (Princess from the Land of Porcelain) in Leyland’s dining room in London.
For ten years Whistler painted and repainted the picture that he called The Three Girls, yet he was never satisfied with it. His act of creative exuberance in redecorating Leyland’s dining room as Harmony in Blue and Gold: The Peacock Room in 1876 and 1877 both produced a masterpiece and destroyed the friendship between artist and patron. Soon thereafter Whistler destroyed The Three Girls as well.
The story of Whistler’s decade of work on The Three Girls, his numerous studies, and his countless repaintings follows the artist’s path to aesthetic mastery. The destruction of the never-completed picture and the afterlife of its repurposed frame illuminate Whistler’s less-rarified preoccupation with patronage, payment, and professional reputation. These themes are at the heart of the complementary exhibition Peacock Room REMIX: Darren Waterston’s Filthy Lucre, which reimagines Whistler’s decorative masterpiece as a site of creative destruction. To learn more visit The Lost Symphony website.
Hyperallergic looks at Darren Waterston’s captivating Filthy Lucre currently on view at the Arthur M. Sackler Gallery in Washington, DC until the end of the year. Read more here.
The Portland Press Herald reports on Colby College Museum of Art’s upcoming Whistler exhibition in “Colby Shows Off Its Whistlers.” Find out more about Whistler and the World: The Lunder Collection of James McNeill Whistler, which opens on Thursday, September 24th.
Margaret F. MacDonald, noted Whistler scholar and Honorary Professor Emerita at the University of Glasgow, maintains a blog on her Whistler related activities, research, and findings. She recently updated it with a posting on Note in Blue and Opal: Jersey from 1881 and Whistler’s travels to the Channel Islands. Read more here.
On October 15, 2015 the Colby College Museum of Art will host a one day symposium, Whistler: Nature and Nation. Generously supported by a grant from the Terra Foundation for American Art, the symposium is dedicated to the exploration of how the American artist James McNeill Whistler reimagined ideas of nature and nation in light of his international contexts and experiences. Speakers include leading scholars on Whistler and the history of American Art. Click on the save-the-date for a list of speakers. Please contact Justin McCann at jbmccann(Replace this parenthesis with the @ sign)colby.edu for more information.
Terrific piece by Peter Schjeldahl of the New Yorker on Whistler’s Mother currently on view at The Clark in Williamstown, MA.
Colby College Museum of Art’s Whistler and the World: The Lunder Collection of James McNeill Whistler began printing today at Meridian Printing in East Greenwich, RI. The catalogue, which includes twenty-four essays and features the entire collection of over 300 Whistlers, will be available in mid-September. The exhibition of the same name opens on September 24th at the museum in Waterville, ME.
Justin McCann, Lunder Consortium for Whistler Studies Fellow at the Colby College Museum of Art, will give a talk this Saturday, August 8th at 11 a.m. at the Clark Art Institute in Williamstown, MA, as part of the Clark’s exhibition Whistler’s Mother: Grey, Black and White. McCann’s talk is entitled “Whistler’s Mother: A Family History” and looks at the iconic painting, Arrangement in Grey and Black: Portrait of the Artist’s Mother, from the context of Whistler’s family history and his relationship with his mother.
As part of the Terra Foundation Artbeat special, Chicago Tonight interviews exhibition co-curators Victoria Sancho Lobis and Meg Hausberg as they take viewers inside Whistler and Roussel: Linked Visions on view at the Art Institute of Chicago until September 27.
As part of the exhibition Whistler and Roussel: Linked Visions, the Art Institute of Chicago have put together an interactive feature that maps the artistic networks of Whistler and Theodore Roussel. See who is connected to who and how ideas, images, and practices circulated in this vibrant community of artists, dealers, collectors, and printers.