Roger Delivering Angelica (After Ingres) - James McNeill Whistler
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Description
A study by James McNeill Whistler, replicating the figure of Angelica from the 1819 painting by Jean-Auguste-Dominique Ingres.
This work is a copy executed by James McNeill Whistler during his formative years in Paris, specifically while he studied under the Swiss painter Charles Gleyre. It is a direct study of the figure of Angelica from Jean-Auguste-Dominique Ingres's 1819 painting, 'Roger Delivering Angelica'. Whistler produced this piece to master the classical techniques of the French Academy, focusing on the anatomical precision and the dramatic, sculptural quality of the female form.
The composition depicts the mythological figure of Angelica, chained to a rock, awaiting rescue. Whistler captures the tension in her posture and the soft, pale flesh tones against the dark, rugged background. The lighting is focused, drawing the eye to the figure while the surrounding environment remains obscured in shadow. This study demonstrates Whistler's early engagement with the rigorous training of the Parisian art scene, long before he developed his later, more abstract aesthetic. The octagonal shape of the canvas reflects the specific framing of the original composition as it appeared in the Louvre.
By replicating the work of a master like Ingres, Whistler sought to internalise the principles of line and form that defined the neoclassical tradition. The brushwork is controlled and precise, reflecting the academic requirement for a smooth, polished finish. This piece provides a clear view into the early technical development of an artist who would eventually become known for his tonal experiments and rejection of narrative painting. It remains a record of his apprenticeship and his respect for the established masters of the nineteenth century.
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Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
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Specific Features
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- 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
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- 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
Roger Delivering Angelica (After Ingres) - 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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