![\"Whistler\u2019s](\"https:\/\/www.reproduction-gallery.com\/blog\/wp-content\/uploads\/2022\/03\/james-mcneill-whistler-symphony-in-white-no-1-the-white-girl-1943-965x1920.jpg\")
<\/div> Symphony in White No 1, The White Girl 1943<\/h6>James McNeill Whistler<\/span> <\/div> <\/figcaption> <\/figure><\/a><\/div>[\/vc_column_inner][vc_column_inner width=”1\/2″]Joanna Hiffernan and James McNeill Whistler<\/span><\/h2>[vc_column_text]Joanna Hiffernan played an essential role in Whistler\u2019s early years as an artist.<\/p>\nFrom 1860 onwards, she served as his muse, model, lover and confidante. He painted, sketched, etched and drew her many times over his career \u2013 most notably in White Girl: Symphony in White, No. 1.<\/em><\/a><\/p>\nDespite this, Joanna Hiffernan\u2019s name is little-known, even within the artworld. A recent show held at the Royal Academy in London (an institution that previously rejected this masterpiece of modern art) seeks to change this.<\/p>\n
Inspired by this exhibition, today we\u2019re shining a light on this influential woman and her work with James Abbott McNeill Whistler<\/a>.<\/p>\nBefore we take a look at Whistler\u2019s most famous painted portraits, who exactly was \u201cthe white girl\u201d?[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_empty_space][\/vc_column][\/vc_row][vc_row][vc_column]
Who was Joanna Hiffernan?<\/span><\/h2>[vc_column_text]Baptized in Limerick, Ireland in 1839, little is known of Joanna\u2019s early life. We do know that by 1843 however, her family joined thousands of impoverished Irish migrants in London. Fleeing the effects of successive crop failures and rural poverty, she spent much of her early years in the English capital city.<\/p>\nWhistler was also an immigrant in London. Born in Lowell, Massachusetts, he undertook his early art education in Paris in 1855, moving to London shortly after.<\/p>\n
The pair met in 1860, and commenced an artistic and romantic partnership that changed the course of modern art\u2026[\/vc_column_text][vc_empty_space][\/vc_column][\/vc_row][vc_row][vc_column][vc_row_inner][vc_column_inner width=”1\/2″]
What inspired Whistler to paint Symphony in White?<\/span><\/h2>[vc_column_text]Dante Gabriel Rossetti\u2019s<\/a> Ecce Ancilla Domini<\/em> (c1850<\/a>) is frequently cited as an early inspiration for Whistler. Depicting the moment of the Annunciation in stark realism, a red-haired Mary appears paralyzed with shock and fear in the presence of her angelic visitor. The angel hands Mary a sprig of White lilies, symbolizing her transition from chastity to pregnancy.<\/p>\nAnother inspiration came from Frederic Watt\u2019s<\/a> striking Lady Dalrymple <\/em>c1851.<\/a> In this portrait, the woman wears a loose-fitting, simple dress whilst standing on the balcony of Little Holland House in Kensington.<\/p>\nUltimately however, Whistler\u2019s artistic inspirations lay in color, harmony and \u201cart for art\u2019s sake\u201d.<\/p>\n
Contemporary commentators accused Whistler of capitalizing on the runaway success of Wilkie Collins\u2019 Woman in White <\/em>novel. Whistler categorically denied these claims, however. He described the painting as simply representing \u201ca girl in white, standing in front of a white curtain\u201d.<\/p>\nOf course, another key inspiration for Symphony in White <\/em>was Whistler\u2019s infatuation with Joanna Hiffernan. Writing to the artist Henri Fantin-Latour<\/a>, Whistler described how Hiffernan had \u201cthe most beautiful hair you have ever seen.\u201d He spoke of her copper-toned locks as \u201cVenetian as a dream.\u201d[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″] <\/div>![\"Sophia](\"https:\/\/www.reproduction-gallery.com\/blog\/wp-content\/uploads\/2022\/03\/George-Frederick-Watts-Sophia-Dalrymple-c1851-scaled.jpeg\")
<\/div> Sophia Dalrymple 1851<\/h6>George Frederic Watts<\/span> <\/div> <\/figcaption> <\/figure><\/a><\/div>[\/vc_column_inner][\/vc_row_inner][vc_empty_space][\/vc_column][\/vc_row][vc_row][vc_column][vc_row_inner][vc_column_inner width=”1\/2″] <\/div>![\"Wapping](\"https:\/\/www.reproduction-gallery.com\/blog\/wp-content\/uploads\/2022\/03\/james-mcneill-whistler-wapping-on-thames-scaled.jpg\")
<\/div> Wapping on Thames<\/h6>James McNeill Whistler<\/span> <\/div> <\/figcaption> <\/figure><\/a><\/div> <\/div>![\"Purple](\"https:\/\/www.reproduction-gallery.com\/blog\/wp-content\/uploads\/2022\/03\/James-McNeill-Whistler-Purple-and-Rose-The-Lange-Leizen-of-the-Six-Marks-1864-scaled.jpg\")
<\/div> Purple and Rose: The Lange Leizen of the Six Marks 1864<\/h6>James McNeill Whistler<\/span> <\/div> <\/figcaption> <\/figure><\/a><\/div>[\/vc_column_inner][vc_column_inner width=”1\/2″]Whistler\u2019s paintings of Joanna Hiffernan<\/span><\/h2>[vc_column_text]In addition to Symphony in White, <\/em>Whistler created several famous painted portraits of Joanna Hiffernan throughout his career.<\/p>\nAfter his move to London, Whistler initially lived at respectable Sloane Street. He subsequently moved East to the Docklands area of London. His friend George Du Maurier described Whistler \u201cworking in secret down in Rotherhithe\u201d amidst the most \u201cbeastly set of cads and every possible annoyance\u201d.<\/p>\n
Despite his friend\u2019s consternation, Whistler painted some of his best-known paintings here, including Wapping on Thames<\/em><\/a>. The painting prominently features Hiffernan alongside the French artist Alphonse Lagos.<\/p>\nPainted between 1860 and 1864, critics were concerned by the lack of an identifiable moral and the low neckline of Hiffernan\u2019s dress. Despite this, Dante Gabriel Rossetti described the work as \u201cthe noblest of all the pictures\u201d Whistler had created.<\/p>\n
Hiffernan also appeared in another East London painting, Battersea Reach <\/em>(1862).<\/a> Her red hair and white dress are just visible as a ghost-like presence on the riverside.<\/p>\nShe also features in Whistler\u2019s explorations into Japonisme, notably Purple and Rose: The Lange Leizen of the Six Marks<\/em><\/a> and Caprice in Purple and Gold<\/em><\/a>: The Golden Screen <\/em>(both painted in 1864).<\/p>\nAs well as numerous drypoint etchings (revealing a touching insight into the couple\u2019s intimate relationship), Hiffernan also appears in Whistler in his Studio <\/em>(1865<\/a>). In this composition highly reminiscent of Diego Velazquez\u2019s Las Meninas <\/em>(1656)<\/a>, Whistler also stares out of the canvas.<\/p>\nFrom his studio, Whistler directly challenges the viewer\u2019s gaze, raising issues of pictorial ownership and his own \u201cpossession\u201d of Hiffernan.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_empty_space][\/vc_column][\/vc_row][vc_row][vc_column][vc_row_inner][vc_column_inner width=”1\/2″]
Artistic possession and partnership<\/span><\/h2>[vc_column_text]Whistler was deeply possessive of Hiffernan throughout their entire relationship. He refused to \u201clend\u201d her to the painter Frederick Sandys, who requested Hiffernan for his portrait Gentle Spring <\/em>(1865).<\/p>\nIronically however, Sandys hired Emelie \u201cMillie\u201d Eyre Jones for the work (the second woman in Whistler\u2019s later Symphony in White, No. 3<\/em><\/a>). <\/em>The two paintings hung side by side in direct competition at the Royal Academy exhibition in 1867.<\/p>\nThe only other artist \u201callowed\u201d to paint Hiffernan was Whistler\u2019s friend Gustave Courbet. The two men (accompanied by Hiffernan) went on a memorable holiday to the Normandy Coast in 1865.<\/p>\n
Here, Courbet described Hiffernan as a \u201csuperb redhead\u201d and painted her portrait in Jo the Beautiful Irishwoman <\/em>(1866)<\/a>. Courbet refused to ever sell the painting, instead painting three additional versions for sale.<\/p>\nBefore his death in 1877, Courbet wrote to Whistler nostalgically recalling their trip with Hiffernan. He described how she \u201csang Irish songs\u201d and \u201cplayed the clown\u201d to amuse the two men. Courbet opined she sang so well because she had the true \u201cspirit and distinction of art\u201d.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″]
<\/div>![\"Symphony](\"https:\/\/www.reproduction-gallery.com\/blog\/wp-content\/uploads\/2022\/03\/Symphony-in-White-No-3-1865-By-James-McNeill-Whistler.jpg\")
<\/div> Symphony in White No 3 1865<\/h6>James McNeill Whistler<\/span> <\/div> <\/figcaption> <\/figure><\/a><\/div>[\/vc_column_inner][\/vc_row_inner][vc_empty_space][\/vc_column][\/vc_row][vc_row][vc_column][vc_row_inner][vc_column_inner width=”1\/2″] <\/div>![\"Le](\"https:\/\/www.reproduction-gallery.com\/blog\/wp-content\/uploads\/2022\/03\/1200px-Edouard_Manet_-_Luncheon_on_the_Grass_-_Google_Art_Project.jpg\")
<\/div> Le Dejeuner sur l'herbe Luncheon on the Grass 1863<\/h6>Edouard Manet<\/span> <\/div> <\/figcaption> <\/figure><\/a><\/div>[\/vc_column_inner][vc_column_inner width=”1\/2″]The Woman in White: Joanna Hiffernan and James McNeill Whistler<\/span><\/h2>[vc_column_text]Originally titled \u201cThe White Girl\u201d, Whistler\u2019s Symphony in White, No. 1 <\/em>is actually one of three paintings depicting Hiffernan in her iconic white dress.<\/p>\nThe first Symphony in White <\/em>(1861-3) was rejected by the highly traditional Royal Academy. Joanna described how \u201cMillais thinks it splendid\u201d however, saying it was \u201cmore like Titian\u201d than anything he\u2019d previously seen.<\/p>\nShe added comically \u201cJim says for all that, the old chuffers [at the Royal Academy] may refuse it all together.\u201d The painting was simply too abstract for art audiences more used to narrative works.<\/p>\n
Later displayed at the 1863 Paris Salon des Refus\u00e9s, <\/em>one critic described the work as a Symphonie du Blanc. <\/em>After this, Whistler changed the name.<\/p>\nThe painting caused a great sensation (both for and against) in Paris, helped in no small measure by its display alongside Edouard Manet\u2019s Le D\u00e9jeuner sur L\u2019Herbe<\/em><\/a>.<\/em>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_empty_space][\/vc_column][\/vc_row][vc_row][vc_column][vc_row_inner][vc_column_inner width=”1\/2″]Variations on Whistler\u2019s Symphony in White<\/span><\/h2>[vc_column_text]After the significant publicity of his Symphony in White,<\/em> Whistler painted The Little White Girl, <\/em>otherwise known as Symphony in White, No. 2.<\/em><\/a> Here, Hiffernan wears a fine white muslin dress, standing in front of the fireplace at Whistler\u2019s Chelsea home.<\/p>\nIn the painting, Hiffernan\u2019s fan features a woodcut by Hiroshige<\/a> (The Bank of the Sumida River<\/em>). The same Hiroshige print is also visible in Whistler\u2019s Caprice in Purple and Gold.\u00a0<\/em><\/p>\nThe white and blue porcelain further references Whistler\u2019s growing fascination with Japonisme. In a further intriguing detail, Hiffernan noticeably wears a wedding ring. She never married, however.<\/p>\n
Completing the trio is Symphony in White, No. 3<\/em><\/a>, <\/em>painted between 1865 and 1867. Featuring Hiffernan alongside Emelie Jones (the model for Sandy\u2019s Gentle Spring<\/em>), Whistler was particularly proud of this painting. In a letter to Latour, he described the \u201cvery delicate gray background\u201d and Jo wearing the same white dress as his earlier work.<\/p>\nWhistler also claimed Hiffernan\u2019s figure was the \u201cpurest\u201d he\u2019d ever created. Other artists clearly agreed, with Edgar Degas sketching the painting at its 1867 exhibition in Paris.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″]
<\/div>![\"Symphony](\"https:\/\/www.reproduction-gallery.com\/blog\/wp-content\/uploads\/2022\/03\/James-McNeill-Whistler-Symphony-in-White-No-2.jpg\")
<\/div> Symphony in White, No. 2<\/h6>James McNeill Whistler<\/span> <\/div> <\/figcaption> <\/figure><\/a><\/div>[\/vc_column_inner][\/vc_row_inner][vc_empty_space][\/vc_column][\/vc_row][vc_row][vc_column][vc_row_inner][vc_column_inner width=”1\/2″] <\/div>![\"Danae](\"https:\/\/www.reproduction-gallery.com\/blog\/wp-content\/uploads\/2022\/03\/gustav-klimt-danae-1907.jpg\")
<\/div> Danae 1907<\/h6>Gustav Klimt<\/span> <\/div> <\/figcaption> <\/figure><\/a><\/div>[\/vc_column_inner][vc_column_inner width=”1\/2″]Why is Whistler\u2019s Symphony in White important?<\/span><\/h2>[vc_column_text]Aside from being a true masterpiece in its own right, Whistler\u2019s Symphony in White <\/em>inspired many subsequent artists (especially during the American Gilded Age). Some of its many fans included the Pre-Raphaelite John Everett Millais<\/a>, the Vienna Secessionist Gustav Klimt<\/a> and the American painter Albert Herter.<\/p>\nAlbert Herter\u2019s Portrait of Bessie <\/em>(1892) directly references Whistler with its white lilies and bearskin rug. The muted, almost abstracted color palette further speaks to Whistler\u2019s groundbreaking exploration of white.<\/p>\nWhilst the woman in Millais\u2019 A Somnambulist <\/em>bears a striking resemblance to Hiffernan, the painting differs in its distinct narrative qualities. Referencing Bellini\u2019s opera La Sonnambula <\/em>(\u201cThe Sleepwalker\u201d), it shows the female protagonist sleepwalking dangerously close to a cliff.<\/p>\nThere are also uncanny similarities with Gustav Klimt. Klimt tackled the \u201cwoman in white\u201d theme many times, notably in Portrait of Gertrude Loew<\/em> (1902),<\/a> Portrait of Hermine Gallia <\/em>(1904)<\/a> and Portrait of a Lady in White <\/em>(1917)<\/a>.<\/p>\nJust like Whistler, Klimt also had a flame-haired muse. He frequently painted the model known as \u201cRed Hilda\u201d throughout his career, most notably in Dana\u00eb<\/em><\/a> and The Kiss<\/em><\/a>.<\/em>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_empty_space][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]Reproduction Gallery proudly boasts an unparalleled collection of James Abbott McNeill Whistler<\/a> artworks. Browse our oil painting reproductions today and enjoy the beauty and delicacy of Whistler\u2019s art on your walls.<\/em>[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n","protected":false},"excerpt":{"rendered":"A true masterpiece in its own right, Whistler\u2019s Symphony in White inspired many artists especially during the American Gilded Age.<\/p>\n","protected":false},"author":1,"featured_media":1160,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":[],"categories":[87,89],"tags":[99,98,97,100],"yoast_head":"\n
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The Abstract Art Movement originated in Europe in the late nineteenth century.","og_url":"https:\/\/www.reproduction-gallery.com\/blog\/whistlers-symphony-in-white\/","og_site_name":"Blog - Reproduction Gallery","article_publisher":"https:\/\/www.facebook.com\/perfectpaintings\/","article_published_time":"2022-03-14T09:40:23+00:00","article_modified_time":"2025-06-30T09:55:27+00:00","og_image":[{"width":1907,"height":1920,"url":"https:\/\/www.reproduction-gallery.com\/blog\/wp-content\/uploads\/2021\/12\/Piet-Mondrian-Mondrian-Composition-with-Red-Blue-and-Yellow-1930.jpg-scaled.jpg","type":"image\/jpeg"}],"author":"Kathy","twitter_card":"summary_large_image","twitter_title":"What is Abstract Art?","twitter_description":"Modern abstract art has fascinating history and is an interesting topic. The Abstract Art Movement originated in Europe in the late nineteenth century.","twitter_image":"https:\/\/www.reproduction-gallery.com\/blog\/wp-content\/uploads\/2021\/12\/Piet-Mondrian-Mondrian-Composition-with-Red-Blue-and-Yellow-1930.jpg-scaled.jpg","twitter_misc":{"Written by":"Kathy","Est. reading time":"7 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/www.reproduction-gallery.com\/blog\/whistlers-symphony-in-white\/#article","isPartOf":{"@id":"https:\/\/www.reproduction-gallery.com\/blog\/whistlers-symphony-in-white\/"},"author":{"name":"Kathy","@id":"https:\/\/www.reproduction-gallery.com\/blog\/#\/schema\/person\/6588e9fa65bd5a381302f646c107ad29"},"headline":"Whistler\u2019s Symphony in White","datePublished":"2022-03-14T09:40:23+00:00","dateModified":"2025-06-30T09:55:27+00:00","mainEntityOfPage":{"@id":"https:\/\/www.reproduction-gallery.com\/blog\/whistlers-symphony-in-white\/"},"wordCount":1957,"publisher":{"@id":"https:\/\/www.reproduction-gallery.com\/blog\/#organization"},"keywords":["James McNeill Whistler","Joanna Hiffernan","Symphony in White","White Girl"],"articleSection":["Art Trends","Art-Info"],"inLanguage":"en-US"},{"@type":"WebPage","@id":"https:\/\/www.reproduction-gallery.com\/blog\/whistlers-symphony-in-white\/","url":"https:\/\/www.reproduction-gallery.com\/blog\/whistlers-symphony-in-white\/","name":"Whistler\u2019s Symphony in White - Art-Info - Reproduction Gallery","isPartOf":{"@id":"https:\/\/www.reproduction-gallery.com\/blog\/#website"},"datePublished":"2022-03-14T09:40:23+00:00","dateModified":"2025-06-30T09:55:27+00:00","description":"A true masterpiece in its own right, Whistler\u2019s Symphony in White inspired many artists especially during the American Gilded Age.","breadcrumb":{"@id":"https:\/\/www.reproduction-gallery.com\/blog\/whistlers-symphony-in-white\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/www.reproduction-gallery.com\/blog\/whistlers-symphony-in-white\/"]}]},{"@type":"BreadcrumbList","@id":"https:\/\/www.reproduction-gallery.com\/blog\/whistlers-symphony-in-white\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/www.reproduction-gallery.com\/blog\/"},{"@type":"ListItem","position":2,"name":"Whistler\u2019s Symphony in White"}]},{"@type":"WebSite","@id":"https:\/\/www.reproduction-gallery.com\/blog\/#website","url":"https:\/\/www.reproduction-gallery.com\/blog\/","name":"Blog - 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From 1860 onwards, she served as his muse, model, lover and confidante. He painted, sketched, etched and drew her many times over his career \u2013 most notably in White Girl: Symphony in White, No. 1.<\/em><\/a><\/p>\n Despite this, Joanna Hiffernan\u2019s name is little-known, even within the artworld. A recent show held at the Royal Academy in London (an institution that previously rejected this masterpiece of modern art) seeks to change this.<\/p>\n Inspired by this exhibition, today we\u2019re shining a light on this influential woman and her work with James Abbott McNeill Whistler<\/a>.<\/p>\n Before we take a look at Whistler\u2019s most famous painted portraits, who exactly was \u201cthe white girl\u201d?[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_empty_space][\/vc_column][\/vc_row][vc_row][vc_column] Whistler was also an immigrant in London. Born in Lowell, Massachusetts, he undertook his early art education in Paris in 1855, moving to London shortly after.<\/p>\n The pair met in 1860, and commenced an artistic and romantic partnership that changed the course of modern art\u2026[\/vc_column_text][vc_empty_space][\/vc_column][\/vc_row][vc_row][vc_column][vc_row_inner][vc_column_inner width=”1\/2″] Another inspiration came from Frederic Watt\u2019s<\/a> striking Lady Dalrymple <\/em>c1851.<\/a> In this portrait, the woman wears a loose-fitting, simple dress whilst standing on the balcony of Little Holland House in Kensington.<\/p>\n Ultimately however, Whistler\u2019s artistic inspirations lay in color, harmony and \u201cart for art\u2019s sake\u201d.<\/p>\n Contemporary commentators accused Whistler of capitalizing on the runaway success of Wilkie Collins\u2019 Woman in White <\/em>novel. Whistler categorically denied these claims, however. He described the painting as simply representing \u201ca girl in white, standing in front of a white curtain\u201d.<\/p>\n Of course, another key inspiration for Symphony in White <\/em>was Whistler\u2019s infatuation with Joanna Hiffernan. Writing to the artist Henri Fantin-Latour<\/a>, Whistler described how Hiffernan had \u201cthe most beautiful hair you have ever seen.\u201d He spoke of her copper-toned locks as \u201cVenetian as a dream.\u201d[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″] After his move to London, Whistler initially lived at respectable Sloane Street. He subsequently moved East to the Docklands area of London. His friend George Du Maurier described Whistler \u201cworking in secret down in Rotherhithe\u201d amidst the most \u201cbeastly set of cads and every possible annoyance\u201d.<\/p>\n Despite his friend\u2019s consternation, Whistler painted some of his best-known paintings here, including Wapping on Thames<\/em><\/a>. The painting prominently features Hiffernan alongside the French artist Alphonse Lagos.<\/p>\n Painted between 1860 and 1864, critics were concerned by the lack of an identifiable moral and the low neckline of Hiffernan\u2019s dress. Despite this, Dante Gabriel Rossetti described the work as \u201cthe noblest of all the pictures\u201d Whistler had created.<\/p>\n Hiffernan also appeared in another East London painting, Battersea Reach <\/em>(1862).<\/a> Her red hair and white dress are just visible as a ghost-like presence on the riverside.<\/p>\n She also features in Whistler\u2019s explorations into Japonisme, notably Purple and Rose: The Lange Leizen of the Six Marks<\/em><\/a> and Caprice in Purple and Gold<\/em><\/a>: The Golden Screen <\/em>(both painted in 1864).<\/p>\n As well as numerous drypoint etchings (revealing a touching insight into the couple\u2019s intimate relationship), Hiffernan also appears in Whistler in his Studio <\/em>(1865<\/a>). In this composition highly reminiscent of Diego Velazquez\u2019s Las Meninas <\/em>(1656)<\/a>, Whistler also stares out of the canvas.<\/p>\n From his studio, Whistler directly challenges the viewer\u2019s gaze, raising issues of pictorial ownership and his own \u201cpossession\u201d of Hiffernan.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_empty_space][\/vc_column][\/vc_row][vc_row][vc_column][vc_row_inner][vc_column_inner width=”1\/2″] Ironically however, Sandys hired Emelie \u201cMillie\u201d Eyre Jones for the work (the second woman in Whistler\u2019s later Symphony in White, No. 3<\/em><\/a>). <\/em>The two paintings hung side by side in direct competition at the Royal Academy exhibition in 1867.<\/p>\n The only other artist \u201callowed\u201d to paint Hiffernan was Whistler\u2019s friend Gustave Courbet. The two men (accompanied by Hiffernan) went on a memorable holiday to the Normandy Coast in 1865.<\/p>\n Here, Courbet described Hiffernan as a \u201csuperb redhead\u201d and painted her portrait in Jo the Beautiful Irishwoman <\/em>(1866)<\/a>. Courbet refused to ever sell the painting, instead painting three additional versions for sale.<\/p>\n Before his death in 1877, Courbet wrote to Whistler nostalgically recalling their trip with Hiffernan. He described how she \u201csang Irish songs\u201d and \u201cplayed the clown\u201d to amuse the two men. Courbet opined she sang so well because she had the true \u201cspirit and distinction of art\u201d.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″] The first Symphony in White <\/em>(1861-3) was rejected by the highly traditional Royal Academy. Joanna described how \u201cMillais thinks it splendid\u201d however, saying it was \u201cmore like Titian\u201d than anything he\u2019d previously seen.<\/p>\n She added comically \u201cJim says for all that, the old chuffers [at the Royal Academy] may refuse it all together.\u201d The painting was simply too abstract for art audiences more used to narrative works.<\/p>\n Later displayed at the 1863 Paris Salon des Refus\u00e9s, <\/em>one critic described the work as a Symphonie du Blanc. <\/em>After this, Whistler changed the name.<\/p>\n The painting caused a great sensation (both for and against) in Paris, helped in no small measure by its display alongside Edouard Manet\u2019s Le D\u00e9jeuner sur L\u2019Herbe<\/em><\/a>.<\/em>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_empty_space][\/vc_column][\/vc_row][vc_row][vc_column][vc_row_inner][vc_column_inner width=”1\/2″] In the painting, Hiffernan\u2019s fan features a woodcut by Hiroshige<\/a> (The Bank of the Sumida River<\/em>). The same Hiroshige print is also visible in Whistler\u2019s Caprice in Purple and Gold.\u00a0<\/em><\/p>\n The white and blue porcelain further references Whistler\u2019s growing fascination with Japonisme. In a further intriguing detail, Hiffernan noticeably wears a wedding ring. She never married, however.<\/p>\n Completing the trio is Symphony in White, No. 3<\/em><\/a>, <\/em>painted between 1865 and 1867. Featuring Hiffernan alongside Emelie Jones (the model for Sandy\u2019s Gentle Spring<\/em>), Whistler was particularly proud of this painting. In a letter to Latour, he described the \u201cvery delicate gray background\u201d and Jo wearing the same white dress as his earlier work.<\/p>\n Whistler also claimed Hiffernan\u2019s figure was the \u201cpurest\u201d he\u2019d ever created. Other artists clearly agreed, with Edgar Degas sketching the painting at its 1867 exhibition in Paris.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″] Albert Herter\u2019s Portrait of Bessie <\/em>(1892) directly references Whistler with its white lilies and bearskin rug. The muted, almost abstracted color palette further speaks to Whistler\u2019s groundbreaking exploration of white.<\/p>\n Whilst the woman in Millais\u2019 A Somnambulist <\/em>bears a striking resemblance to Hiffernan, the painting differs in its distinct narrative qualities. Referencing Bellini\u2019s opera La Sonnambula <\/em>(\u201cThe Sleepwalker\u201d), it shows the female protagonist sleepwalking dangerously close to a cliff.<\/p>\n There are also uncanny similarities with Gustav Klimt. Klimt tackled the \u201cwoman in white\u201d theme many times, notably in Portrait of Gertrude Loew<\/em> (1902),<\/a> Portrait of Hermine Gallia <\/em>(1904)<\/a> and Portrait of a Lady in White <\/em>(1917)<\/a>.<\/p>\n Just like Whistler, Klimt also had a flame-haired muse. He frequently painted the model known as \u201cRed Hilda\u201d throughout his career, most notably in Dana\u00eb<\/em><\/a> and The Kiss<\/em><\/a>.<\/em>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_empty_space][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]Reproduction Gallery proudly boasts an unparalleled collection of James Abbott McNeill Whistler<\/a> artworks. Browse our oil painting reproductions today and enjoy the beauty and delicacy of Whistler\u2019s art on your walls.<\/em>[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n","protected":false},"excerpt":{"rendered":" A true masterpiece in its own right, Whistler\u2019s Symphony in White inspired many artists especially during the American Gilded Age.<\/p>\n","protected":false},"author":1,"featured_media":1160,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":[],"categories":[87,89],"tags":[99,98,97,100],"yoast_head":"\nWho was Joanna Hiffernan?<\/span><\/h2>[vc_column_text]Baptized in Limerick, Ireland in 1839, little is known of Joanna\u2019s early life. We do know that by 1843 however, her family joined thousands of impoverished Irish migrants in London. Fleeing the effects of successive crop failures and rural poverty, she spent much of her early years in the English capital city.<\/p>\n
What inspired Whistler to paint Symphony in White?<\/span><\/h2>[vc_column_text]Dante Gabriel Rossetti\u2019s<\/a> Ecce Ancilla Domini<\/em> (c1850<\/a>) is frequently cited as an early inspiration for Whistler. Depicting the moment of the Annunciation in stark realism, a red-haired Mary appears paralyzed with shock and fear in the presence of her angelic visitor. The angel hands Mary a sprig of White lilies, symbolizing her transition from chastity to pregnancy.<\/p>\n
<\/div> Sophia Dalrymple 1851<\/h6>George Frederic Watts<\/span> <\/div> <\/figcaption> <\/figure><\/a><\/div>[\/vc_column_inner][\/vc_row_inner][vc_empty_space][\/vc_column][\/vc_row][vc_row][vc_column][vc_row_inner][vc_column_inner width=”1\/2″]
<\/div> Wapping on Thames<\/h6>James McNeill Whistler<\/span> <\/div> <\/figcaption> <\/figure><\/a><\/div>
<\/div> Purple and Rose: The Lange Leizen of the Six Marks 1864<\/h6>James McNeill Whistler<\/span> <\/div> <\/figcaption> <\/figure><\/a><\/div>[\/vc_column_inner][vc_column_inner width=”1\/2″]
Whistler\u2019s paintings of Joanna Hiffernan<\/span><\/h2>[vc_column_text]In addition to Symphony in White, <\/em>Whistler created several famous painted portraits of Joanna Hiffernan throughout his career.<\/p>\n
Artistic possession and partnership<\/span><\/h2>[vc_column_text]Whistler was deeply possessive of Hiffernan throughout their entire relationship. He refused to \u201clend\u201d her to the painter Frederick Sandys, who requested Hiffernan for his portrait Gentle Spring <\/em>(1865).<\/p>\n
<\/div> Symphony in White No 3 1865<\/h6>James McNeill Whistler<\/span> <\/div> <\/figcaption> <\/figure><\/a><\/div>[\/vc_column_inner][\/vc_row_inner][vc_empty_space][\/vc_column][\/vc_row][vc_row][vc_column][vc_row_inner][vc_column_inner width=”1\/2″]
<\/div> Le Dejeuner sur l'herbe Luncheon on the Grass 1863<\/h6>Edouard Manet<\/span> <\/div> <\/figcaption> <\/figure><\/a><\/div>[\/vc_column_inner][vc_column_inner width=”1\/2″]
The Woman in White: Joanna Hiffernan and James McNeill Whistler<\/span><\/h2>[vc_column_text]Originally titled \u201cThe White Girl\u201d, Whistler\u2019s Symphony in White, No. 1 <\/em>is actually one of three paintings depicting Hiffernan in her iconic white dress.<\/p>\n
Variations on Whistler\u2019s Symphony in White<\/span><\/h2>[vc_column_text]After the significant publicity of his Symphony in White,<\/em> Whistler painted The Little White Girl, <\/em>otherwise known as Symphony in White, No. 2.<\/em><\/a> Here, Hiffernan wears a fine white muslin dress, standing in front of the fireplace at Whistler\u2019s Chelsea home.<\/p>\n
<\/div> Symphony in White, No. 2<\/h6>James McNeill Whistler<\/span> <\/div> <\/figcaption> <\/figure><\/a><\/div>[\/vc_column_inner][\/vc_row_inner][vc_empty_space][\/vc_column][\/vc_row][vc_row][vc_column][vc_row_inner][vc_column_inner width=”1\/2″]
<\/div> Danae 1907<\/h6>Gustav Klimt<\/span> <\/div> <\/figcaption> <\/figure><\/a><\/div>[\/vc_column_inner][vc_column_inner width=”1\/2″]
Why is Whistler\u2019s Symphony in White important?<\/span><\/h2>[vc_column_text]Aside from being a true masterpiece in its own right, Whistler\u2019s Symphony in White <\/em>inspired many subsequent artists (especially during the American Gilded Age). Some of its many fans included the Pre-Raphaelite John Everett Millais<\/a>, the Vienna Secessionist Gustav Klimt<\/a> and the American painter Albert Herter.<\/p>\n