Three women sit just inside the doorway of a building shown frontally to the viewer. The doorway is framed by windows on either side within an archietctural framework that connects the windows and door with a dado under the windows. The women have a large piece of fabric laid over their laps on which they are working. The woman at the left is angled so that she is looking into the room; the other two look out at the viewer. The profile of a fourth woman is visible in the central window on the left side of the door.
Whistler's continuing interest in the arrangements of doorways and windows as a compositional focus dates back to his early work in the French Set. Here, the composition recalls some of his Venice etchings, such as "The Bead-Stringers", but is handled with the light, hair-like fine lines of the Amsterdam etchings. The result is an of evansecent, almost shimmering effect of light.
This painting, done in thick brushstrokes, shows a group of women gathered on the grass in a wooded area. There are six figures, four seated and two standing, and they fill the foreground of the composition. They are grouped in a semi-circle, however, there is no communication or eye contact between the figures. The women are wearing traditional Breton costumes with brightly colored aprons, caps and sashes. They have bright white collars and caps with purple, burgundy and green ribbons.
Charles Cottet was known for painting scenes representing life in the Brittany area of France. This painting shows a group of women, dressed in traditional Breton costume, who are to participate in a "pardon", an annual religious procession. The Brittany pardon was a popular subject matter for artists during the last half of the nineteenth century because it allowed a portrayal of the folklore and customs of that region of France, an area of interest for Realist and Symbolist painters. Here, Cottel does not show the procession itself, but a small group of women gathered in a lush green field. They wear the traditional costumes of the town of Plougastel with purple and burgundy skirts, green blouses and multi-colored aprons. The women have bright white collars and caps with purple, burgundy and green ribbons. The two girls wear colorful caps over their unbound hair and have decorated vests.
A scattering of figures, mostly women and young chidren, occupy the foreground and middle ground of the image. In the distance are several sculptures and urns framed by a curving balustrade with trees and some buildings behind.
The Luxembourg Gardens were an easy walk for Whistler and here he depicts the activities of children with their nannies or mothers on the terrace that surrounds the basins in the center of this Parisian park.
Whistler employs the untouched portions of paper to represent the gravel walks on which the figures are arranged, recalling the flat passages of color that he admired in Japanese woodblock prints.
This lithograph is printed in black ink on a rose-colored chine collé paper. It depicts a wide Parisian boulevard as though seen from above at a distance. Large trees and buildings line either side of the street. Vehicles and pedestrians, many of whom appear to hold umbrellas, people the scene.
In the lower left corner, two women are seen seated out of doors conversing in a park-like setting. In the middle distance is a large sculpture on a raised pedestal. Grouped around the sculpture are other small gatherings of people in conversation. Behind the figures and sculpture is the loose indication of trees.
Set in the Luxembourg Gardens of Paris, this scene does not describe the imposing terraces and stairs, but a quiet cul-de-sac where groups of people are quietly talking.
Whistler had considered offering this work for inclusion in "The Art Journal" but there was concern that the softeness of the stump, particularly visible in the trees behind the statue, would not allow for a large edition necessary for the publication.
Six figures, women and girls, sit or stand in front of a balustrade. On the left side is an urn holding a plant; the upper portion of a young tree projects above the balustrade at center; in the distance on the right appears the upper portion of a building with a mansard roof
Whistler's lithographs of the Luxembourg Gardens often focused on groupings of mothers or nannies and their charges. In this image, the group of women and girls before the terrace balustrade are vignetted with only cursory indication of setting.
Sketch #1 titled: Pull to a door Maison Jacques Coeur Bourges May 3rd 91 Sketch #2 inscribed, top right: Base to a Pier of the open arcade 1st floor Maison Jacques Coeur May 3rd 91 Noted: this Base is about on a line with the eye ; Plan of Pier is sketched at right Sketch #3 noted: A Window Sill to Maison J. Coeur
Pattern between sketches 4 and 5 noted: these are not cut as Byzantine leaves generally are but like this; arrow points to detail: no groove in the center Notation referring to moulding between sketches 2 and 3: these mouldings run right down and between Bases. A little head forms check block
Sketch #1 inscribed: Oak chest in Cluny Museum Sketch #2 moulding inscribed: this moulding is merely engraved, almost no modelling and has splendid effect Sketch #3 inscribed: Moulding on another chest. Also kept very flat and practically no modelling at all Sketch #4 inscribed: this is reversed at the other side of center which has a flat leaf carved on. All ornament is very flat almost engraving.
Inscribed in negative, l.r.: "EM. PEC/NIMES 1851" Inscribed in graphite on mount, l.l.: "Maison Carrée at Nîmes" Verso: inscribed in graphite, u.r. "Temple of Fortune/ at Nimes/ 1855"; u.r. corner "[???]/ 36"