Nocturne: Blue and Silver – Chelsea

Nocturne: Blue and Silver – Chelsea is a painting by James McNeill Whistler completed in 1871. It is the earliest of the London Nocturnes and was conceived on the same August evening as Variations in Violet and Green.[1] The two paintings were exhibited together at the Dudley Gallery.

Nocturne: Blue and Silver - Chelsea
ArtistJames Abbott McNeill Whistler
Year1871
MediumOil on panel
Dimensions50.2 cm × 60.8 cm (19.8 in × 23.9 in)
LocationTate Britain, London

The Nocturnes

Blue and Silver - Chelsea is the first of thirty-two[2] nighttime landscapes which Whistler began calling nocturnes after the suggestion of Frederick Richards Leyland.[3] His process is described in detail by his biographers the Pennells:

His method was to go out at night[...] stand before his subject and look at it, then turn his back on it and repeat to whoever was with him the arrangement, the scheme of colour, and as much of the detail as he wanted. The listener corrected errors when they occurred, and, after Whistler had looked long enough, he went to bed with nothing in his head but his subject. The next morning, if he could see upon the untouched canvas the picture, he painted it; if not he passed another night looking at the subject.[4]

All the nocturnes were painted with an extremely fluid "sauce" that allowed Whistler to build thin layers of luminous colour, sometimes painting over while the lower layer was still wet. The exact recipe of the mixture is unverified, but was reportedly so thin that the wet canvas sometimes had to be painted flat on the ground so the image would not slide off.[5]

Orientalism

The work provides an example of the Orientalism, specifically Japonisme which was a significant influence on Whistler and many other Impressionists during this period. The flattened, silhouetted forms are typical of contemporaneous Ukiyo-e[6] prints. More specifically, Whistler often drew composition inspiration from One Hundred Famous Views of Edo and other works by Hiroshige and Hiroshige II.[7] The monochromatic colour washes,[8] visible brushstrokes, and subdued composition echo sumi-e.[7] All this is underscored by Whistler's use of the 'butterfly' signature in the centre of the bottom edge of the painting, imitating a "chop" seal.

Provenance

Donated to the Tate in 1972 by Rachel and Jean Alexander, from the collection of their father William Cleverly Alexander, a banker and the son of noted abolitionist George William Alexander. W.C. Alexander was one of Whistler's earliest patrons, buying this first Nocturne in 1872 .[9]

References
  1. Tate. "'Nocturne: Blue and Silver - Chelsea', James Abbott McNeill Whistler, 1871". Tate. Retrieved 2019-09-04.
  2. Siewert, John. "Whistler's Nocturnes and the aesthetic subject." (1995): 0775-0775.
  3. Tate. "'Nocturne: Blue and Silver - Cremorne Lights', James Abbott McNeill Whistler, 1872". Tate. Retrieved 2019-09-11.
  4. Hackney, Stephen. "Colour and Tone in Whistler's 'Nocturnes' and 'Harmonies' 1871-72." The Burlington Magazine 136, no. 1099 (1994): 695-99. http://www.jstor.org/stable/886202.
  5. Mayer, Lance, and Gay Myers. American Painters on Technique: 1860-1945. Getty Publications, 2013. 161.
  6. Sachi, N. A. K. A. C. H. I., and C. H. E. N. Min. "Looking into Exhibitions: Mimicry, Japonisme and Intermediality of Art." http://trail.tsuru.ac.jp/dspace/bitstream/trair/777/1/Y021089.pdf(2017).
  7. Ono, Ayako. Japonisme in Britain: Whistler, Menpes, Henry, Hornel and Nineteenth-Century Japan. Routledge, 2013. https://books.google.ca/books?id=Ncv5AQAAQBAJ&pg=PA74&lpg=PA74&dq=whistler+nocturnes+japonisme&source=bl&ots=imwy7IA3O4&sig=ACfU3U3FJIz1dBEuiCXXxA1qYMLIsD6VwA&hl=en&sa=X&ved=2ahUKEwiWvanB6LfkAhXuT98KHQ-sCDkQ6AEwD3oECAgQAQ#v=onepage&q&f=false
  8. Hammond, Jeff Michael (2015-01-15). "Whistler: The misunderstood artistic rebel". The Japan Times. Retrieved 2019-09-04.
  9. Merrill, Linda. The Peacock Room: A Cultural Biography. Yale University Press, 1998.
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