James McNeill Whistler · 1861–62
Symphony in White, No. 1: The White Girl
Posters from $15.00 CAD · Canvas from $39.00 CAD
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Whistler's full-length portrait of Joanna Hiffernan in a white dress, a lily in her hand, standing on a wolf skin before a white curtain — a study almost entirely in whites. National Gallery of Art, Washington.
Up to 8 × 15.9 in · portrait
Size
Larger sizes are unavailable for this painting because the source scan's resolution wouldn't print at gallery quality.
Format & finish
Archival cotton canvas stretched over a wooden frame. Ready to hang as-is. No external frame.
Scale next to a 5'10" person
+ tax at checkout
Materials & quality
›Canvas & inks
Giclée-printed on archival cotton canvas with fade-resistant pigment inks, hand-stretched over wooden bars. Gallery-wrapped — ready to hang with no extra frame needed.
›Floater frame
Hand-finished solid wood floater frame in five finishes. The canvas sits inside with a clean shadow gap — the way galleries hang contemporary canvas.
›Posters
Premium archival paper — 200 gsm soft matte or 230 gsm vibrant glossy. Ships flat or rolled, ready for your own frame.
›Faithful to the source
Printed from the highest-resolution museum and archive scans available. Each painting's maximum size is capped at what its source scan can support at gallery quality.
The story of Symphony in White, No. 1: The White Girl
Whistler painted the picture in the winter of 1861–62 and later returned to it to make alterations; the model is Joanna Hiffernan, his mistress. Originally called The White Girl, it was renamed Symphony in White, No. 1 to stress his 'art for art's sake' philosophy. Rejected by the Royal Academy and the Paris Salon, it was shown at the Salon des Refusés in 1863 alongside Manet's Déjeuner sur l'herbe, and the two works drew much attention.
Adapted from Wikipedia, available under CC BY-SA 4.0.
James McNeill Whistler
James Abbott McNeill Whistler was an American painter in oils and watercolor, and printmaker, active during the American Gilded Age and based primarily in the United Kingdom. He eschewed sentimentality and moral allusion in painting and was a leading proponent of the credo "art for art's sake".
All James McNeill Whistler prints →Biography adapted from Wikipedia, available under CC BY-SA 4.0.
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