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Symphony in White, No. 1: The White Girl
''Symphony in White, No. 1'', also known as ''The White Girl'', is a painting by James Abbott McNeill Whistler. The work shows a woman in full figure standing on a white polar bear skin in front of a white curtain with a white lily in her hand. The colour scheme of the painting is almost entirely white. The model is Joanna Hiffernan, the artist's mistress. Though the painting was originally called ''The White Girl'', Whistler later started calling it ''Symphony in White, No. 1''. By referring to his work in such abstract terms, he intended to emphasise his "art for art's sake" philosophy.
Whistler created the painting in the winter of 1861–62, though he later returned to it and made alterations. It was rejected both at the Royal Academy and at the ''Salon'' in Paris, but eventually accepted at the ''Salon des Refusés'' in 1863. This exhibition also featured Édouard Manet's famous ''Déjeuner sur l'herbe'', and together the two works gained a lot of attention. ''The White Girl'' shows clearly the influence of the Pre-Raphaelite Brotherhood, with whom Whistler had recently come in contact. The painting has been interpreted by later art critics both as an allegory of innocence and its loss, and as a religious allusion to the Virgin Mary.
==Artist and model==
James Abbott McNeill Whistler was born in the United States in 1834, the son of George Washington Whistler, a railway engineer.〔Anderson & Koval (1994), pp. 3–6.〕 In 1843, his father relocated the family to Saint Petersburg, Russia, where James received training in painting.〔Weintraub (1974), pp. 6–9.〕 After a stay in England, he returned to America to attend the US Military Academy at West Point in 1851.〔Anderson & Koval (1994), pp. 26–31.〕 In 1855, he made his way back to Europe, determined to dedicate himself to painting. He settled in Paris at first, but in 1859 moved to London, where he would spend most of the remainder of his life.〔MacDonald (1999).〕 There he met Dante Gabriel Rossetti and other members of the Pre-Raphaelite Brotherhood, who would have a profound influence on Whistler.〔Spencer (2004)〕
It was also in London that Whistler met Joanna Heffernan, the model who would become his lover. Their relationship has been referred to as a "marriage without benefit of clergy."〔Weintraub (1974), p. 71.〕 By 1861, Whistler had already used her as a model for another painting. ''Wapping'', named after Wapping in London where Whistler lived, was begun in 1860, though not finished until 1864.〔 It shows a woman and two men on a balcony overlooking the river. According to Whistler himself, the womanportrayed by Heffernanwas a prostitute.〔Spencer (1998), p. 306.〕 Heffernan supposedly had a strong influence over Whistler; his brother-in-law Francis Seymour Haden refused a dinner invitation in the winter of 1863–64 due to her dominant presence in the household.〔Spencer (1998), p. 309.〕
抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』
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