Detail from The Canal, Amsterdam, 1889, James McNeill Whistler, The Hunterian, University of Glasgow

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Symphony in White, No. 1: The White Girl

Catalogues Raisonnés

  • Young, Andrew McLaren, Margaret F. MacDonald, Robin Spencer, and Hamish Miles, The Paintings of James McNeill Whistler, New Haven and London, 1980 (cat. no. 38) as 'Symphony in White, No. 1: The White Girl', plates 28, 369, 370.

Authored by Whistler

  • Whistler, James McNeill, [Letter to the Editor], ‘Our Weekly Gossip’, The Athenaeum, no. 1810, 5 July 1862, p. 23.
  • Whistler, James McNeill, The Gentle Art of Making Enemies, London, 1890, p. 54.

Catalogues 1855-1905

  • Catalogue of the Pictures and Drawings Selected from the Works of the Leading Artists of the Day at the Gallery, 14 Berners Street, W., London, 1862 (catalogue untraced) (cat. no. 42) as 'The Woman in White'.
  • Catalogue des ouvrages de peinture, sculpture, gravure, lithographie et architecture refusés par le jury de 1863 et exposés, par décision de S.M. l'Empereur, au Salon annexe, Palais des Champs-Elysées, le 15 mai 1863, Paris, 1863 (cat. no. 596) as 'Dame blanche'.
  • Exposition universelle de 1867 à Paris: Catalogue général, 2 vols., Paris, 1867, vol. 1, section 'États-unis d’Amérique', p. 204, (cat. no. 68) as 'La Fille Blanche'.
  • Exposition universelle de 1867 à Paris: Catalogue général, 2nd (revised) edition, 2 vols., Paris, 1867, vol. 1, section 'États-unis d’Amérique', p. 244 (cat. no. 75) as 'La Fille blanche'.
  • Charity Art Exhibition, 1876: Catalogue of Paintings, Baltimore, 1876 (cat. no. 43) as 'A Girl in White'.
  • Exhibition of Pictures, Union League Club, New York, 1881 (cat. no. unknown) as 'Woman in White' (press cutting, 10 April 1881, GUL Whistler PC 4, p. 61).
  • Loan Collection of Paintings and Sculpture, Metropolitan Museum of Art, New York, 1881 (cat. no. 60) as 'The White Girl'.
  • The Metropolitan Museum of Art (ed.), Hand-book N° 6: Pictures by Old Masters. Loan Collections and Recent Gifts to the Museum. The Henry G. Marquand Collection of Old Masters and Pictures of the English School, New York, 1894 (cat. no. 252) as 'The White Girl'.
  • The Metropolitan Museum of Art (ed.), Hand-book N° 6: Pictures by Old Masters. Loan Collections and Recent Gifts to the Museum. The Henry G. Marquand Collection of Old Masters and Pictures of the English Schooln, 2nd (revised) edition, New York, 1895 (cat. no. 253) as 'The White Girl'.
  • National Academy of Design (ed.), Loan Exhibition of Portraits for the Benefit of the Orthopædic Hospital, New York, 1898 (cat. no. 254) as 'The Woman in White'.
  • Oil Paintings, Water Colors, Pastels and Drawings: Memorial Exhibition of the Works of Mr. J. McNeill Whistler, Copley Society, Boston, 1904 (cat. no. 71) as ' "WHITE GIRL." '.
  • Memorial Exhibition of the Works of the late James McNeill Whistler, First President of The International Society of Sculptors, Painters and Gravers, New Gallery, Regent Street, London, 1905 (cat. no. 37) as 'The Woman in White, Symphony in White, No. 1' in de luxe edition, and as 'The White Girl' (3rd edition et seq.).
  • Œuvres de James McNeill Whistler, Palais de l'Ecole des Beaux-Arts, Paris, 1905 (cat. no. 4) as 'Symphonie en blanc No 1 "La fille blanche" (Symphony in White No. 1. The White Girl.)'.

Newspapers 1855-1905

  • Anon., 'Notes on Art', Lady's Own Paper, 5 July 1862, p. 3.
  • Thore-Burger, W., 'Salon de 1863, A Paris, III', L'Independance Belge, 2 June 1863, p. 1.
  • Burger, William (pseud. Théophile Thoré), 'Le Salon de 1863 à Paris (IV)' L’Indépendence belge, 12 June 1863, pp. 1-2 (reprinted in Burger, William (pseud. Théophile Thoré), Salons de W. Burger, 2 vols. Paris, 1870, vol. 1, pp. 412-13, 420-21, and Burger, William (pseud. Théophile Thoré), Les Salons: Études de critique et d'esthétique, 3 vols., Brussels, 1893, vol. 2, pp. 412-13, 420-21.
  • Castagnary, Jules, 'Salon de 1863: Les Refusés', Le Courier du Dimanche, 14 June 1863, pp. 4-5 (reprinted in Salons, 2 vols., Paris, 1892, vol. 1, pp. 100-82), at p. 179).
  • Castagnary, Jules, 'Le Salon des Refusés' L'Artiste, 1 August 1863, pp. 49-52, and 15 August 1863, pp. 73-76 (reprinted in Salons, 2 vols., Paris, 1892, vol. 1, pp. 100-82). This is an edited version of Castagnary's review in Le Courier du Dimanche, 14 June 1863, pp. 4-5.
  • Chesneau, Ernest, 'Beaux-Arts: Salon de 1863', Le Constitutionnel, 28 April 1863, p. 1; 5 May 1863, pp. 1-2; 12 May 1863, pp. 1-2; 19 May 1863, pp. 1-2, at p. 1.
  • Graham, J., [Stevens, Arthur], 'Un étranger au Salon: III', Le Figaro, 31 May 1863, p. 3.
  • 'Graham' [Stevens, Arthur], 'Un étranger au Salon (III)', Le Figaro, Paris, 31 May 1863, pp. 2-4, p. 3, 'Graham' [Stevens, Arthur], 'Un étranger au Salon (X)', Le Figaro, Paris, 16 July 1863, pp. 3-4, at p. 3 (all repr. in Stevens, Arthur, Le Salon de 1866, suivi d’une étude sur Eugène Delacroix, Paris, 1866, pp. 59-60, 198).
  • Anon., 'The International Exhibition of 1872', Sheffield Daily Telegraph, 30 April 1872, p. 7.
  • [Anon.], 'The Art Exhibition', Baltimore American and Commercial Advertiser, Baltimore, 20 March 1876, p. 4.
  • Anon., 'The Union League', unidentified newspaper, New York, [10 April 1881] (press cutting, GUL Whistler PC 4, p. 61).

Journals 1855-1905

  • Anon., [F. G. Stephens], 'Fine Art Gossip', The Athenaeum, 28 June 1862, pp. 859-60, at p. 859.
  • Buckstone, Frederick, [Letter to the Editor], The Athenaeum, no. 1812, 19 July 1862, p. 86.
  • 'W. M. R.' [Rossetti, William Michael], 'Mr Whistler's Etchings', The Reader: A Review of Literature, Science, and Art, no. 14, 4 April 1863, p. 342.
  • Chesneau, Ernest, 'Beaux-Arts, Salon de 1863 IV', Le Constitutionnel, 19 May 1863, p. 2.
  • Leroy, Louis, 'Salon de 1863: XIII: Les juges', Le Charivari, 29 May 1863, p. 3.
  • Pothey, Alex, 'Lettres a un Millionnaire: sur le Salon de 1863: III', Le Boulevard, 31 May 1863, p. 3.
  • Fillonneau, Ernest, 'Salon de 1863: Les Refusés', Le Moniteur des Arts, 6 June 1863, pp. 2-3.
  • Anon., [Le Capitaine Pompilius], 'Lettres Sur le Salon: III', Le Petit Journal, 11 June 1863, p. 2.
  • Castagnary, Jules-Antoine, 'Salon de 1863 III: Les Refusés', Le Courrier du dimanche, 14 June 1863, pp. 4-5.
  • Mantz, Paul, 'Le Salon de 1863: peinture et sculpture', Gazette des beaux-arts, vol. 14, 1863, pp. 481-506; vol. 15, 1863, pp. 32-64, at pp. 60-61.
  • Rousseau, Jean, 'Salon de 1863 ... Gravures', L'Univers Illustré, 16 July 1863, p. 259.
  • Paul, Adrien, 'Beaux Arts: Salon de 1863: 9° Article: Les Refusés', Le Siecle, 19 July 1863, pp. 1-2.
  • Castagnary, Jules-Antoine, 'Salon des Refusés', L'Artiste, 1 September 1863, pp. 96-97.
  • Hamerton, Philip Gilbert, 'The Salon of 1863', Fine Arts Quarterly Review, vol. 1, October 1863, pp. 225-62, at pp. 259–60.
  • Hamerton, Philip Gilbert, 'The Reaction from Pre-Raphaelitism', Fine Arts Quarterly Review, vol. 2, 1864, pp. 255-62, at p. 261.
  • Mantz, Paul, 'Les Beaux Arts à l’Exposition Universelle, VII', Gazette des beaux-arts, vol. 23, September 1867, pp. 209-30, at p. 230.
  • Brownell, William C., 'Whistler in Painting and Etching', Scribner's Monthly, vol. 18, no. 4, August 1879, pp. 481-95, at p. 490, wood engraving by Cole, p. 489.
  • Duret, Théodore, 'James Whistler', Gazette des beaux-arts, vol. 23, April 1881, pp. 365-69, at p. 366.
  • Fry, Roger, 'Mr Whistler', The Athenaeum, no. 3952, 25 July 1903, pp. 113-14.
  • Caffin, Charles Henry, 'James McNeill Whistler', The International Studio, vol. 20, no. 79, September 1903, p. clv, pp. 43-44.
  • Bénédite, Léonce, 'Artistes Contemporains: Whistler', Gazette des beaux-arts, vol. 33, 1905, pp. 403-10, 496-511; vol. 34, 1905, pp. 142-58, 231-46; references in vol. 33 at pp. 507, 510-511, and vol. 34 at p. 233.
  • Bénédite, Léonce, L'Oeuvre de James MacNeill Whistler, Paris, 1905, repr. pl. V.

Monographs

  • MacDonald, Margaret F. (ed.) The Woman in White: Joanna Hiffernan and James McNeill Whistler, New Haven and Washington, 2020.

Books on Whistler

  • Anderson, Ronald, and Ann Koval, James McNeill Whistler: Beyond the Myth, London, 1994, pp. 106-09, 133-35, pl. 4.
  • Brock, Charles, 'A Short History of the Woman in White' in Margaret F. MacDonald (ed.), The Woman in White: Joanna Hiffernan and James McNeill Whistler, New Haven and Washington, 2020, pp. 177-191.
  • Cary, Elizabeth Luther, The Works of James McNeill Whistler: A Study, with a Tentative List of Artist’s Works, New York, 1907, pp. 37-41 (cat. no. 71) repr.
  • Chaleyssin, Patrick, James McNeill Whistler: The Strident Cry of the Butterfly, Bournemouth, 1995, pp. 22-26, repr.
  • Curry, David Park, James McNeill Whistler: Uneasy Pieces, New York, 2004, pp. 68-69, 71, 75-76. 78, 80-81, 84, 93, 96, 100, 106, 128, 196.
  • de Montfort, Patricia, 'White Muslin: Joanna Hiffernan and the 1860s', in: MacDonald, Margaret F., Susan Galassi, Aileen Ribeiro and Patricia de Montfort, Whistler, Women and Fashion, New Haven and London, 2003, pp. 77-91.
  • de Montfort, Patricia, ' “A Great Sensation”: Women in White in Late Victorian Literature and Popular Culture' in Margaret F. MacDonald (ed.), The Woman in White: Joanna Hiffernan and James McNeill Whistler, New Haven and Washington, 2020, pp. 147-156.
  • Duret, Théodore, Histoire de J. McN. Whistler et de son oeuvre, Paris, 1904, pp. 14-16, 20-22, 45, 148.
  • Duret, Théodore, trans. by Frank Rutter, Whistler, English edition, London, 1917, pp. 14-16, 20-22, 45, 148.
  • Fleming, Gordon, The Young Whistler 1834-66, London, Boston, Sydney, 1978, pp. 171-74, 189-191, fig. 23.
  • Glazer, Lee, Emily Jacobsen, Blyth McCarthy, and Katherine Roeder, Whistler in Watercolor. Lovely Little Games, Freer Gallery of Art, Washington, DC, 2019, p. 185, repr. p. 186.
  • Koval, Anne, Whistler in his Time, London, 1994, pp. 32-36.
  • Merrill, Linda, The Peacock Room. A Cultural Biography, New Haven and London, 1998, pp. 43-50, fig. 1.2.
  • MacDonald, Margaret F., Susan Galassi, Aileen Ribeiro, and Patricia de Montfort, Whistler, Women and Fashion, New Haven and London, 2003, pp. 44, 95, 115, 153, 220, repr. fig. 76.
  • MacDonald, Margaret F., 'Joanna Hiffernan and James Whistler: an Artistic Partnership' in Margaret F. MacDonald (ed.), The Woman in White: Joanna Hiffernan and James McNeill Whistler, New Haven and Washington, 2020, pp. 15-31.
  • MacDonald, Margaret F., Joanna Dunn, and Joyce H. Townsend, 'Painting Joanna Hiffernan', in Margaret F. MacDonald (ed.), The Woman in White: Joanna Hiffernan and James McNeill Whistler, New Haven and Washington, 2020, pp. 33-45.
  • Pennell, Elizabeth Robins, and Joseph Pennell, The Life of James McNeill Whistler, 2 vols, London and Philadelphia, 1908, vol. 1, pp. 94-98, 102-03, 139-41, 144, 157.
  • Pennell, Elizabeth Robins, and Joseph Pennell, The Whistler Journal, Philadelphia, 1921, pp. 4, 144.
  • Petri, Grischka, Arrangement in Business: The Art Markets and the Career of James McNeill Whistler, Hildesheim, 2011, pp. 7, 57, 60-72, 77, 80, 96-97, 99, 106, 113, 119, 123, 134, 142-43, 145, 162, 172, 184, 189, 192, 362, 454, 464, 535, 613-14, 619, 622-23.
  • Petri, Grischka, 'The “Symphonies in White”: Display, Sale, and Reproduction', in Margaret F. MacDonald (ed.), The Woman in White: Joanna Hiffernan and James McNeill Whistler, New Haven and Washington, 2020, pp. 167-176.
  • Ribeiro, Aileen, 'Fashioning White in the Work of Whistler and his Contemporaries' in Margaret F. MacDonald (ed.), The Woman in White: Joanna Hiffernan and James McNeill Whistler, New Haven and Washington, 2020, pp. 157-166.
  • Sickert, Bernhard, Whistler, London and New York, 1908 (cat. no. 13).
  • Singletary, Suzanne M., James McNeill Whistler and France: A Dialogue in Paint, Poetry, and Music, London and New York, 2017, pp. 38, 40-41, 46, 60-61, 74, 80, 91, 93-94, 117, 130.
  • Spencer, Robin, Whistler, New York, 1990, pp. 56-57.
  • Sutherland, Daniel E., Whistler: A Life for Art's Sake, New Haven and London, 2014, pp. 68-71, 77-79, 100, 102, 123, 337, fig. 22.
  • Sutton, Denys, Nocturne: The Art of James McNeill Whistler, London, 1963, pp. 36-38, fig. 6.
  • Sutton, Denys, James McNeill Whistler: Paintings, Etchings, Pastels and Watercolours, London, 1966, pp. 10, 47-48, 187, pl. 25, pl. 29, detail.
  • Taylor, Hilary, James McNeill Whistler, London, 1978, pp. 27-29, pl. 5.
  • Way, Thomas Robert, and G. R. Dennis, The Art of James McNeill Whistler: An Appreciation, 1st edition, London, 1903, p. 26.

Books, General

  • Adler, Shane, 'Whiteness', in Roberts, Helene E. (ed.), Encyclopedia of Comparative Iconography: Themes Depicted in Works of Art, 2 vols., Chicago, 1998, vol. 2, p. 939.
  • Astruc, Zacharie, 'Le Salon de 1863', Feuilleton Quotidien, 10 May 1863, p. 5.
  • Champlin, John Denison, and Charles C. Perkins, Cyclopedia of Painters and Paintings, 4 vols., New York, 1887, at vol. 4, p. 427, repr.
  • Colbert, Charles, Haunted Visions. Spiritualism and American Art, Philadelphia, 2011, pp. 126-27.
  • Cox, Kenyon, Old Masters and New Essays in Art Criticism, New York, 1905, pp. 235-36.
  • Craven, Wayne, American Art: History and Culture, New York, 1994, p. 343, fig. 23.17.
  • Desnoyers, Fernand, Salon des Refusés. La Peinture en 1863, Paris, 1863, pp. 27-28.
  • Étienne, Louis, Le Jury et les exposants, Salon des Refusés, Paris, Paris, 1863, pp. 30-31.
  • Du Maurier, Daphne, (ed.), The Young George du Maurier: A Selection of his Letters, 1860-67, London, 1951, p. 105.
  • Duranty, Émile, La Simple Vie du peintre Louis Martin, Paris, 1877, p. 337.
  • L'Enfant, Julie, William Rossetti's Art Criticism: The Search for Truth in Victorian Art, New York, 1999, pp. 180-81, repr. fig. 4.6.
  • Fink, Lois Marie, American Art at the Nineteenth Century Paris Salons, Cambridge, 1990, pp. 79-83, 102, 230-31, 264, pl. 7.
  • Goldin, Marco, (ed.), America! Storie di pittura dal Nuovo Mondo, 2 vols., Treviso, 2007, vol. 1, p. 379, repr.; vol. 2, p. 146.
  • Hughes, Robert, American Visions: The Epic History of Art in America, New York, 1997, p. 239, fig. 145.
  • Isham, Samuel, The History of American Painting, New York, 1905, p. 333.
  • Prettejohn, Elizabeth, Art for Art’s Sake: Aestheticism in Victorian Painting, New Haven and London, 2007, pp. 32, 163-66, 168-69, repr. p. 164.
  • Pyne, Kathleen A., Art and the Higher Life: Painting and Evolutionary Thought in Late Nineteenth-Century America, Austin, TX, 2010, pp. 89-94, 102, 320.
  • Randall, Lillian (ed.), George A. Lucas: An American Art Agent in Paris, 1857-1909, Princeton, 1979, pp. 130-32, 152, 254-55.
  • Smith, Ann Y., Hidden in Plain Sight: The Whittemore Collection and the French Impressionists, Garnet Hill Publishing Co. and Mattatuck Historical Society, 2009, pp. 53, 55, 70, 73, 76, 93, repr. p. 56-57.
  • Tuckerman, Henry T., Book of the Artists, New York and London, 1867, p. 486.
  • Watanabe, Toshio, High Victorian Japonisme, Berne and New York, 1991, pp. 225-26.
  • Williams, William James, A Heritage of American Paintings from the National Gallery of Art, New York, 1981, pp. 128, 130.
  • Yeazell, Ruth Bernard, Picture Titles: How and Why Western Paintings Acquired Their Names, Princeton, 2005, pp. 206, 213-14, repr. p. 79.

Catalogues 1906-Present

COLLECTION:

  • Cairns, Huntington, and John Walker (eds), Masterpieces of Painting from the National Gallery of Art, New York, 1944, p. 162, repr., as 'The White Girl'.
  • Walker, John, National Gallery of Art, Washington, New York, 1956, p. 56, repr., as 'The White Girl'.
  • Bouton, Margaret, American Painting in the National Gallery of Art, Washington, DC, 1959 (= Booklet Number One in Ten Schools of Painting in the National Gallery of Art, Washington, DC), p. 32, repr., as 'The White Girl'.
  • Cott, Perry B. (foreword) and Otto Stelzer (notes), The National Gallery of Art and Its Collections, National Gallery of Art, Washington, DC (n.d, 1960s), p. 26, as 'The White Girl'.
  • Walker, John, National Gallery of Art, Washington, DC, New York, 1963 (reprinted 1964 in French, German, and Spanish), p. 292, repr., as 'The White Girl'.
  • Cairns, Huntington, and John Walker (eds), A Pageant of Painting from the National Gallery of Art, 2 vols., New York, 1966, vol. 2, p. 494, repr., as 'The White Girl'.
  • National Gallery of Art, American Paintings and Sculpture: An Illustrated Catalogue, Washington, DC, 1970, p. 122, repr., as 'The White Girl'.
  • Wilmerding, John, American Masterpieces from the National Gallery of Art, National Gallery of Art, Washington, DC, 1980, pp. 9, 16, cat. no. 42, repr.
  • Walker, John, National Gallery of Art, Washington, DC, revised edition, New York, 1984, p. 558, no. 849, repr.
  • Wilmerding, John, American Masterpieces from the National Gallery of Art, revised edition, National Gallery of Art, Washington, DC, 1988, p. 142, no. 48, repr.
  • National Gallery of Art, American Paintings: An Illustrated Catalogue, Washington, DC, 1992, p. 379, repr.
  • Torchia, Robert Wilson, with Deborah Chotner and Ellen G. Miles, American Paintings of the Nineteenth Century, Part 2, The Collections of the National Gallery of Art Systematic Catalogue, Washington, DC, 1998, p. 238-44, repr.
  • Hand, John Oliver, National Gallery of Art: Master Paintings from the Collection, Washington and New York, 2004, p. 336-37, cat. no. 271, repr.

EXHIBITION:

  • Paintings in Oil and Pastel by James A. McNeill Whistler, The Metropolitan Museum of Art, New York, 1910 (cat. no. 3) as 'Symphony in White I: The White Girl'.
  • Pictures of People, 1870-1930: A Loan Exhibition for the Benefit of Hope Farm, M. Knoedler & Co., New York, 1931, (cat. no. 4), as 'The White Girl'.
  • American Painting and Sculpture, 1862-1932, Museum of Modern Art, New York, 1932-1933, (cat. no. 113) as 'Woman in White'.
  • A Century of Progress: Exhibition of Paintings and Sculpture, Art Institute of Chicago, 1934 (cat. no. 433), repr. 66, as 'The White Girl'.
  • Oils, Water-colors, Drawings and Prints by James McNeill Whistler, Museum of Fine Arts, Boston, 1934 (cat. no. 4) as 'The White Girl'.
  • Twentieth Anniversary Exhibition of the Cleveland Museum of Art: The Official Art Exhibit of the Great Lakes Exposition, Cleveland Museum of Art, 1936 (cat. no. 377), repr. LXXV, as 'The White Girl, Symphony in White, No. 1'.
  • Exhibition of Paintings: For the Benefit of the Children's Center, New Haven, Connecticut, The Tuttle House, Naugatuck, CT, 1938 (cat. no. 42), repr. frontispiece.
  • Art in Our Time: an Exhibition to celebrate the Tenth Anniversary of the Museum of Modern Art and the opening of its New Building held at the time of the New York World's Fair, Museum of Modern Art, New York, 1939 (cat. no. 45) as 'The White Girl'.
  • Modern Masters from European and American Collections, Museum of Modern Art, New York, 1940 (cat. no. 1) as 'The White Girl', repr. p. 11.
  • Art: Official Catalog, Golden Gate International Exposition, Palace of Fine Arts, San Francisco, 1940 (cat. no. 1221) as 'The White Girl', repr. p. 69.
  • Mattatuck Historical Society (ed.), Loan Exhibition of Paintings from the Whittemore Collection, Waterbury, CT, 1941 (cat. no. 35) as 'The White Girl'.
  • De Gustibus … An Exhibition of American Paintings illustrating A Century of Taste and Criticism, Corcoran Gallery of Art, Washington, DC, 1949 (cat. no. 15).
  • Diamond Jubilee Exhibition - Masterpieces of Painting, Philadelphia Museum of Arts, Philadelphia, 1950 (cat. no. 65) as 'The White Girl'.
  • Sweet, Frederick A. (ed.), Sargent, Whistler and Mary Cassatt, Art Institute of Chicago and Metropolitan Museum of Art, New York, 1954 (cat. no. 94) repr., as 'The White Girl: Symphony in White, No. 1'.
  • American Classics of the Nineteenth Century, The Carnegie Institute, Pittsburgh, 1957 (cat. no. 51) as 'The White Girl' (travelling exhibition, 5 venues, shown only in Pittsburgh).
  • Sweet, Frederick A. (ed.), James McNeill Whistler, Art Institute of Chicago, Chicago, and Munson-Williams-Proctor Institute, Utica, NY, 1968, p. 54, pl. 3 (cat. no. 3).
  • Reff, Theodore, and Allen Staley (eds), From Realism to Symbolism: Whistler and His World, Columbia University, New York, 1971 (cat. no. 12) as 'The White Girl (Symphony in White, No. 1)'.
  • Curry, David Park, James McNeill Whistler at the Freer Gallery of Art, New York and London, 1984, pp. 38-43, repr.
  • Gaehtgens, Thomas (ed.), Bilder aus der Neuen Welt. Amerikanische Malerei des 18. und 19. Jahrhunderts, [Exhibition catalogue, Berlin, Nationalgalerie and Schloss Charlottenburg], Munich, 1988 (cat. no. 67).
  • Dorment, Richard, and Margaret F. MacDonald (eds), James McNeill Whistler, Tate Gallery, London, Musée d’Orsay, Paris, and National Gallery of Art, Washington, DC, 1994-1995 (cat. nos. 14, 76-78), repr.
  • Warner, Malcolm, Anne Helmreich, and Charles Brock, The Victorians: British Painting in the Reign of Queen Victoria, 1837-1901, National Gallery of Art, Washington, DC, 1996 (cat. no. 28) repr.
  • Newall, Christopher, 'Themes of Love and Death in Aesthetic Painting of the 1860s', in: Wilton, Andrew, and Robert Upstone (eds), The Age of Rossetti, Burne-Jones and Watts: Symbolism in Britain 1860-1910, Tate Gallery, London 1997, pp. 35-46, at pp. 38-39.
  • Koja, Stephan (ed.), America: the New World in 19th-century painting, [exhibition catalogue, Belvedere, Vienna], Munich, 1999 (cat. no. 125) repr.
  • Funnell, Peter, Malcolm Warner, Leonée Ormond, H. C. G. Matthew, and Kate Flint, Millais: Portraits, London, 1999, pp. 113-14, 116, repr.
  • Merrill, Linda, et al., After Whistler: The Artist and His Influence on American Painting, High Museum of Art, Atlanta, 2003, pp. 12-14, 17-18, 25, 86, 92-93, 98-101, 110, 118, 134, 142, 146, 164, 174, 176, 198, 200, 208 (cat. no. 1) repr. fig. 85.
  • Andreeva, Galina, and Margaret F. MacDonald (eds), Whistler and Russia, State Tretyakow Gallery, Moscow, 2006, pp. 22-23, repr. p. 23 (not in exhibition).
  • Speake, Jennifer (ed.), Americans in Paris, 1860-1900, National Gallery, London, 2006 (cat. no. 19).
  • Brock, Charles, Charles Sheeler: Across Media, Berkeley, CA, 2006, p. 14, fig. 3.
  • Søndergaard, Sidsel Maria, Women in Impressionism: From Mythical Feminine to Modern Woman, Ny Carlsberg Glyptotek, Copenhagen, Milan, 2006, pp. 118, 124, fig. 100, 132 n. 26.
  • Dayer Gallait, Barbara (ed.), High Society. Amerikanische Portraits des Gilded Age, [Catalogue Bucerius Kunst Forum, Hamburg], Munich, 2008 pp. 69, 70, fig. 10.
  • Calloway, Stephen, and Lynn Federle Orr (eds), The Cult of Beauty: The Aesthetic Movement 1860-1900, Victoria and Albert Museum, London, 2011, pp. 25, 159, repr. pl. 14 (no catalogue number).
  • MacDonald, Margaret F. (ed.), The Woman in White: Joanna Hiffernan and James McNeill Whistler, New Haven and Washington, 2020 (exhibition rescheduled to 2022).

Journals 1906-Present

  • Arscott, Caroline,'Whistler and Whiteness', in Charlotte Ribeyrol (ed.), The Colours of the Past in Victorian England, in J. B. Bullen (ed.), Cultural Interactions. Studies in the Relationship between the Arts, vol. 38, Oxford, 2019, pp. 47-69.
  • Berman, Avis, 'Glackens and Whistler: A young man's attraction', The Magazine Antiques, 2014, website at http://www.themagazineantiques.com/article/glackens-and-whistler.
  • Daly, Nicholas, 'The Woman in White: Whistler, Hiffernan, Courbet, Du Maurier', Modernism/modernity, vol. 12.1, 2005, pp. 1-25.
  • Dorment, Richard, 'J. McN. Whistler 1834-1903', American Art Review, vol. 7, no. 3, 1995, pp. 148-58.
  • Grieve, Alastair, 'Whistler and the Pre-Raphaelites, Art Quarterly, vol. 34, summer 1971, pp219-28.
  • Horowitz, Ira M., 'Whistler's Frames', The Art Journal, vol. 39, Winter 1979-80, pp. 124-31.
  • Johnson, Ron, 'Whistler's Musical Modes: Symbolist Symphonies', Arts, vol. 55, no. 8, April 1981, pp. 164-68, fig. 1.
  • MacDonald, Margaret F., and Joy Newton, 'Letters from the Whistler Collection (University of Glasgow). Correspondance with French Painters', Gazette des beaux-arts, no. 128, December 1986, pp. 201-14, at pp. 201-02.
  • Mahey, John A. (ed.). 'The Letters of James McNeill Whistler to George A. Lucas', Art Bulletin, vol. 49, September 1967, pp. 247-57, at p. 249.
  • Newton, Joy, and Margaret F. MacDonald, 'Whistler: Search for a European Reputation', Zeitschrift fur Kunstgeschichte, vol. 41, 1978, pp. 148-59, at pp. 150-152, fig. 2.
  • Page, Jean Jepson, ‘James McNeill Whistler, Baltimorean, and The White Girl: A Speculative Essay’, Maryland Historical Magazine, vol. 84, Spring 1989, pp. 10-38.
  • Spencer, Robin, 'Whistler’s “The White Girl”: Painting, Poetry and Meaning', The Burlington Magazine, vol. 140, 1998, pp. 300-11.
  • Teukolsky, Rachel, 'White Girls: Avant-Gardism and Advertising after 1860', Victorian Studies, vol. 51, 2009, pp. 423-37.
  • Troyen, Carol, 'Innocents Abroad: American Painters at the 1867 Exposition Universelle, Paris', The American Art Journal, vol. 16.4, 1984, pp. 2-29, at pp. 8-9, repr. p. 15.
  • Tsui, Aileen, 'The Phantasm of Aesthetic Autonomy in Whistler's Work: Titling the White Girl', Art History, vol. 29, 2006, pp. 444-75.
  • Wildenstein, Daniel, ‘Le Salon des Refusés de 1863. Catalogue et documents’, Gazette des beaux-arts, vol. 66, 1965, pp. 125-52, at p. 146.
  • Wilson-Bareau, Juliet, 'The Salon des Refusés of 1863: A New View', The Burlington Magazine, vol. 149, 2007, pp. 309-19, pp. 310, 317, 319.

Websites

  • National Gallery of Art website at http://www.nga.gov.
  • 'A Bounty of Frames: From Wood to Canvas: Attached Frames and Artists' Choices', National Gallery of Art, website at http://www.nga.gov/feature/frames/canvas.shtm.
  • Lovett, Mark, 'Whistler "Symphony in White" Painting Commission', website at http://www.marklovettstudio.com.
  • Musée du Louvre website at http://cartelen.louvre.fr/cartelen.

Unpublished

  • Revillon, Joseph Whistler, Draft Catalogue Raisonné of the Paintings of J. McN. Whistler, [ca 1945-1955], Glasgow University Library (cat. no. 31) 'The white girl: Symphony in white No: 1 / The woman in white: Symphony in White No: 1'.

Other

  • Goebel, Catherine Carter, Arrangement in Black and White: the Making of a Whistler Legend, PhD thesis, 2 vols, Evanston, Northwestern University, 1988, Appwndix 4.
  • Parkerson, Sarah Lawrence, Variations in Gold: The Stylistic Development of the Picture Frames used by James McNeill Whistlers, PhD thesis, University of Glasgow, 2007.

Last updated: 23rd April 2021 by Margaret