Composition

On the Thames at Chelsea, Leighton House, London

Variations in Pink and Grey: Chelsea, Freer Gallery of Art

A chalk and pastel drawing, r.: On the Thames at Chelsea; v.: Nude figure [M.0396], shows a similar view of the Thames from Lindsey Row, with boats at the jetties below Whistler's house, although it is not precisely a study for Variations in Pink and Grey: Chelsea.

Technique

Variations in Pink and Grey: Chelsea, Freer Gallery of Art

It is painted on a dark ground on a fine weave canvas. Water and sky were painted with smooth brushstrokes in thin, creamy paint, from left to right across the whole canvas. The distant buildings along the river bank have been partly rubbed down, as part of the painting process. The whole canvas is thinly painted except for the blossoms, which might suggest that they were added last. There are numerous signs of rubbing down and alterations, particularly around the figures.

Conservation History

In 1892 Whistler wrote concerning his painting, 'They ought all to go to Richards - cleaned - & varnished' for the Goupil exhibition, but it is not known if this picture was so treated by Stephen Richards (1844-1900). 1

According to the Freer Gallery files it was cleaned in 1921, 1951 and 1965; relined in 1925; and resurfaced in 1925, 1937 and 1951. In 1965 it was inpainted (retouching in the area of the fence that had whitened) and revarnished.

Frame

1872: reeded cassetta, incised basket-weave with painted butterfly [10.5 cm]

Variations in Pink and Grey: Chelsea, Freer Gallery of Art

Variations in Pink and Grey: Chelsea, frame

Variations in Pink and Grey: Chelsea, frame

Frame, original, Flat Whistler with incised basket-weave pattern, signed with butterfly on the broad central panel, on top of the incised basket-weave pattern.

Variations in Violet and Green, frame

The frames for this painting and Variations in Violet and Green [YMSM 104] are very similar.