Technique

Nocturne: Silver and Opal – Chelsea, Freer Gallery of Art

It is thinly painted in distinct, fluttery brush strokes, which are criss-crossed in different directions. The result is to dissolve the shape of the bridge and obscure the view. This sort of cross-hatching is seen in some of Whistler's early Thames paintings, particularly Battersea Reach from Lindsey Houses [YMSM 055], but the paint in Nocturne: Silver and Opal – Chelsea is much thinner in consistency.

Conservation History

According to Freer Gallery files, the varnish was removed with some difficulty in 1921, it was resurfaced in 1930, cleaned and surfaced in 1935, cleaned and varnished in 1937, resurfaced in 1938 (at which time the butterfly signature was partly obliterated), and cleaned and surfaced in 1951.

Frame

Nocturne: Silver and Opal – Chelsea, Freer Gallery of Art

Large Dowdeswell frame, made for Whistler's exhibition in 1884 [14.1 cm]. 1