Harmony in Green and Rose: The Music Room, previewed as a 16 by 20 inch giclée reproduction.

Look closer

See it on a wall

James McNeill Whistler

American, 1834–1903

Harmony in Green and Rose: The Music Room1860-1861

Oil on canvas

H x W: 96.3 x 71.7 cm (37 15/16 x 28 1/4 in)

Courtesy of the National Museum of Asian Art, Smithsonian Institution · F1917.234a-b

Set in the London home of Whistler's brother-in-law Seymour Haden, this painting was originally titled The Morning Call. More about this work

See it in the galleries

Format

Archival pigment inks on Hahnemühle Photo Rag, a 308 gsm cotton paper, with a white border.

Size
Size
16 × 20 in · image 13¾ × 17
Paper
Hahnemühle Photo Rag, 308 gsm
Price
$56

Made to order and shipped within the United States in about a week. Tax and shipping are added at checkout.

Download the full-resolution file, free · public domain, no account needed

About this work

Set in the London home of Whistler's brother-in-law Seymour Haden, this painting was originally titled The Morning Call. The woman reflected in the mirror at the left is Whistler's half sister Deborah Haden. The seated girl is his niece, Annie Haden. The standing woman, Miss Isabella Boott, was connected to the Haden family by marriage. Instead of trying to create a convincing illusion of three-dimensional space, Whistler adopted a color scheme and sharply angled perspective that emphasize the flatness of the picture plane.

Text from the National Museum of Asian Art.

How it was made

Oil paint
Pigment ground in a drying oil, usually linseed. It dries slowly, so painters could blend on the canvas, build up thin translucent glazes, and rework a picture over weeks. Canvas replaced wooden panels in the 1500s because it is lighter and can be rolled.

James McNeill Whistler

American, 1834–1903 · Born in Lowell, Massachusetts; died in London.

Whistler spent part of his boyhood in Russia, left West Point without graduating and trained as a painter in Paris before settling in London in 1859. He held that a picture was an arrangement of colour and form, and named his works symphonies, harmonies and nocturnes; a hostile review of one nocturne led to his 1878 libel suit against John Ruskin. He was equally committed to etching, and in his Venice plates of 1879–80 he left films of ink on the copper to suggest water and dusk.

Written by Ochre Editions.

See all 19 works by James McNeill Whistler

Realism

Ordinary people and working lives, painted as they were, from the 1840s on.

More from Realism

Rights and the museum’s record

Public domain. The National Museum of Asian Art has dedicated this image to the public domain under CC0, so anyone may copy, adapt and use it, for any purpose, without asking. Our prints and files are reproductions made from the museum’s image; the museum doesn’t endorse them.

Object number
F1917.234a-b
Credit
Courtesy of the National Museum of Asian Art, Smithsonian Institution
Type
Painting
Department
National Museum of Asian Art
Report this work

Tell us if this image shouldn't be here, or if its record is wrong. A person reads every report.

What's the concern?

More by James McNeill Whistler

All their works

Close in colour