For the first time since 1904, The Princess from the Land of Porcelain has left the Peacock Room. James McNeill Whistler’s painting of Anglo-Greek beauty Christina Spartali dressed in a Japanese kimono has hung over the mantelpiece in the Peacock Room for more than a century. Now it is on display in the Sackler as part of the exhibition The Lost Symphony: Whistler and the Perfection of Art.
The painting has presided over the Peacock Room for so long that it may come as a surprise to learn it was not originally a site-specific work. It was an exhibition picture, painted in 1864 and displayed at the Paris Salon the following year. Critics at the time generally liked the work, but they described it as a “pastiche chinoise” since parts of it seemed to imitate the decorations found on Chinese porcelain.
British shipping magnate Frederick Leyland acquired the painting around 1872. When he moved to a new home in 1875, he hung it over the mantel in the dining room, which had been redecorated by the architect Thomas Jeckyll to showcase Leyland’s extensive collection of blue-and-white Chinese pots. Leyland asked Whistler to offer suggestions about the color scheme of the woodwork. As the artist began to make a few modest changes, he realized Jeckyll’s designs clashed with his princess. Whistler was soon carried away with covering the walls, shutters, and ceiling with peacock motifs. The result was the beautiful Harmony in Blue and Gold: The Peacock Room—and the end of his friendship with Leyland.
After Leyland died in 1892, his art collections were sold at auction. William Burrell, a collector from Glasgow, Scotland, bought La Princesse at that time. He sold it to Charles Lang Freer in 1903, shortly after Whistler’s death. The following year, Freer loaned the painting to Whistler’s memorial retrospective held in Boston, where the princess hung in a place of honor at the end of a long gallery. Later that spring Freer acquired the entire Peacock Room from Blanche Watney, who had purchased Leyland’s house, and he shipped the room to his own residence in Detroit in the summer of 1904. He once again hung La Princesse over the mantelpiece, where it remained when the Peacock Room was installed in the Freer Gallery of Art in 1920.
While the Freer Gallery is temporarily closed for renovation, La Princesse is liberated from her high perch. Enjoy this opportunity to take a closeup look at Whistler’s work before the princess once again returns to her lofty position, perhaps to gaze down on us for another hundred years.
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