116
  • James McNeill Whistler

  • 1897
  • William Nicholson (British 1872-1949)
  • Woodblock print
  • 24.5 x 22.6 cm., 9-5/8 x 8-7/8" image
  • Lent Courtesy of Private Collection through Catherine Carter Goebel, Paul A. Anderson Chair in the Arts

Essay by John Regan, Class of 2008

In 1897 William Nicholson, at that time an artist for New Review magazine, was commissioned by his editor to deliver a portrait of noted artist, James Abbot McNeill Whistler. The result was this stunningly elegant depiction of the contemporary tastemaker, generally considered one of Nicholson's greatest works (Schwartz 66). The manner in which this piece portrays Whistler is very intriguing. His image, as it emerges for the viewer, is submerged in darkness, as if the black background completely absorbs him. Staged on a warm horizon, he holds his signature cane as he proudly displays his ribbon signifying the honor he received in being awarded the French Legion d'Honneur. The fine attire that he wears recalls his appearance in 1885 when he delivered his famous Ten O'Clock lecture.

Nicholson presented the artist wearing his trademark monocle and a pompous expression on his face, which is further emphasized through the dramatic use of chiaroscuro. Whistler's arrogant and refined appearance was fitting considering the brilliance he exuded. James McNeill Whistler acts as a tribute piece to Whistler's reputation as one of the leading artists of the Aesthetic Movement, an art era that emphasized the aesthetic beauty of art over any implied story or moral. Nicholson, along with many younger artists of the day, revered Whistler as a great master. Even as a teenager, Nicholson was infatuated with the artist and his paintings. At the time of this portrait's publication, Whistler was at the height of his fame, being as well known as his work, if not more. Aside from his artistic talent, his outlandish behavior assisted in promoting his image and his art. Whistler had a penchant for effective use of the media, and the critics were clearly aware of his potential for selling newspapers and magazines. He was truly an original character, which made him a very memorable celebrity. Whistler supported such imagery with his 1892 release of his autobiographical book, The Gentle Art of Making Enemies. In this publication, he dedicated a chapter to venting frustrations based on his career (and certainly enlivened beyond reality) about the nature of art critics.