Purple and Rose: The Lang Leizen of the Six Marks - James McNeill Whistler
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Beschreibung
A portrait by James McNeill Whistler featuring a woman surrounded by blue and white porcelain, reflecting the nineteenth-century interest in East Asian art.
Painted in 1864, Purple and Rose: The Lang Leizen of the Six Marks captures the fascination with East Asian art that permeated the London art scene during the mid-nineteenth century. The title refers to the 'long Elizas' or 'lang leizen', a Dutch term for the slender female figures depicted on Chinese porcelain, and the 'six marks' found on the base of such ceramics. Whistler portrays a woman dressed in an elaborate floral robe, seated amidst a collection of blue and white porcelain.
The composition reflects the artist's interest in formal arrangement over narrative content. The figure is positioned within a shallow space, surrounded by objects that serve as decorative elements rather than mere props. The palette is dominated by the contrast between the warm, golden tones of the background and the cool, cobalt blue of the porcelain vessels. Whistler uses a fluid brush technique to define the textures of the silk garment and the reflective surfaces of the ceramic jars.
This work demonstrates the shift toward the Aesthetic movement, where the arrangement of colour and form takes precedence over traditional subject matter. The model, Joanna Hiffernan, is depicted in a contemplative state, her gaze directed away from the viewer. By incorporating these specific cultural objects, Whistler engages with the contemporary trend of Japonisme, yet he maintains a distinct focus on the tonal harmony of the canvas. The painting remains a primary example of his early experimentation with exotic themes and his move away from the rigid academic standards of the period. It provides a clear view into the artist's studio practice and his personal collection of decorative items, which he often used to construct his carefully balanced visual environments.
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Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
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Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
Purple and Rose: The Lang Leizen of the Six Marks - James McNeill Whistler
Artist Biography
James Mcneill Whistler
He was born in 1834 in Lowell, Massachusetts. His father, a civil engineer, took the family to St Petersburg to advise on the railroad to Moscow. The young Whistler took drawing classes at the Imperial Academy of Sciences. After the West Point disaster, he briefly worked for the US Coast and Geodetic Survey, learning the etching techniques he would use for the rest of his career, then left for Paris. He never lived in America again.
The painting everyone knows as Whistler's Mother is actually called Arrangement in Grey and Black No. 1. He named his works with musical terms (Nocturnes, Arrangements, Harmonies, Symphonies) to insist that painting was about tonal composition, not subject matter. The painting of his mother was about grey and black. That it also depicted his mother was, in principle, secondary.
In 1877, John Ruskin reviewed his Nocturne in Black and Gold: The Falling Rocket and wrote that he never expected to hear a coxcomb ask two hundred guineas for flinging a pot of paint in the public's face. Whistler sued for libel. The case was heard over two days in November 1878. He won, and was awarded damages of one farthing, the least valuable coin in the realm. The legal costs bankrupted him.
He signed his work with a butterfly. It started as a monogram inspired by the potter's marks on Chinese ceramics he collected, gradually evolving into an abstract butterfly shape. Around 1880, he added a stinger to it, representing both the delicate and the combative sides of his personality. The Peacock Room, his masterpiece of decorative art, extended his obsession with total harmony from a single painting to an entire architectural space.
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