Caprice in Purple and Gold: The Golden Screen - James McNeill Whistler
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Beschrijving
A seminal work of Japonisme, this 1864 painting by James McNeill Whistler captures a woman in a kimono, exploring the aesthetic harmony of colour and form.
Painted in 1864, Caprice in Purple and Gold: The Golden Screen reflects the intense fascination with Japanese art that permeated the European avant-garde during the mid-nineteenth century. James McNeill Whistler depicts his model, Joanna Hiffernan, dressed in a kimono and seated before a folding screen. The composition is deliberately flattened, drawing inspiration from the ukiyo-e woodblock prints that were circulating in London and Paris at the time.
Whistler employs a restricted palette, focusing on the interplay between the gold of the screen and the deep purples and blacks of the subject's attire. The figure is shown in profile, examining a print, which creates a quiet, contemplative atmosphere. The inclusion of scattered prints on the floor serves to reinforce the theme of artistic collection and the aesthetic appreciation of foreign objects. Unlike the traditional portraiture of the era, which prioritised psychological depth or narrative, this work prioritises the arrangement of colour and form.
The painting is a clear example of the artist's interest in the decorative potential of the canvas. By removing the subject from a conventional domestic setting and placing her within a space defined by Japanese motifs, Whistler creates a controlled environment where the visual elements operate independently of traditional storytelling. The brushwork is precise, allowing for the rendering of the fabric textures and the gilded surface of the screen. This piece remains a significant example of the early phase of Japonisme in Western art, demonstrating how artists began to integrate non-Western compositional strategies into their own practice. It is currently held in the collection of the Freer Gallery of Art in Washington, D.C.
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Caprice in Purple and Gold: The Golden Screen - 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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