A young woman with pale, peachy skin, wearing a long, flowing white dress, stands in front of a white curtain in this vertical portrait painting. Her auburn-red hair cascades down over and behind her shoulders. She looks to our left with green eyes, and her pink, full lips are closed. Her dress has puffed shoulders above a white-on-white striped pattern on the long sleeves. She stands on an animal pelt; it is not clear whether it is a wolf or a bear. The pelt spans the width of the painting and overlaps a blue patterned carpet. The animal’s mouth gapes to show sharp teeth. Its glassy eyes are wide open, and it seems to look at us. The edges of the animal skin are red. The woman holds a white lily by her side in her left hand, while yellow and purple flowers lie scattered on the pelt.

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   When Whistler submitted The White Girl to the Paris Salon in 1863, the tradition–bound jury refused to show the work. Napoleon III invited avant–garde artists who had been denied official space to show their paintings in a "Salon des Refusés," an exhibition that triggered enormous controversy. Whistler's work met with severe public derision, but a number of artists and critics praised his entry. In the Gazette des Beaux–Arts, Paul Manz referred to it as a "symphony in white," noting a musical correlation to Whistler's paintings that the artist himself would address in the early 1870s, when he retitled a number of works "Nocturne," "Arrangement," "Harmony," and "Symphony."

   Whistler used variations of white pigment to create interesting spatial and formal relationships. By limiting his palette, minimizing tonal contrast, and sharply skewing the perspective, he flattened forms and emphasized their abstract patterns. This dramatic compositional approach reflects the influence of Japanese prints, which were becoming well known in Paris as international trade increased.

   Clearly, Whistler was more interested in creating an abstract design than in capturing an exact likeness of the model, Joanna Hiffernan. His radical espousal of a purely aesthetic orientation and the creation of "art for art's sake" became a virtual rallying cry of modernism.

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   When The White Girl debuted in London in 1862, it puzzled viewers. At the time, portraits of this scale usually featured well-known people. The subject here is Joanna Hiffernan, an Irish immigrant with little standing in British society. Hiffernan was Whistler’s primary model and collaborator during the early 1860s.

   Whistler created two more paintings of Hiffernan in white dresses, eventually grouping all three under the shared title Symphony in White. Surprising audiences yet again, he declared that, like music, these works were solely about abstract qualities such as line and color.

   Despite the artist’s stated intentions, this imposing image of Hiffernan seems to have a story to tell. What does it say to you?

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