Weary
James Abbott McNeill Whistler
Description
Weary
1863
Drypoint on laid Japan tissue
Second state of three (Kennedy 92)
Bequest of Margaret Watson Parker, 1954/1.353
This languorous and sexually charged drypoint portrait of Joanna Hiffernan reclining in a chair is printed on a thin, translucent Japan paper that beautifully echoes the fragility of the figure. Here Jo’s face, hair, and bodice are the focus of the print, her delicate features luxuriously framed by her cascading hair, known to be auburn from Whistler’s paintings, as well as by the arched chairback against which she leans; her skirt, in contrast, is rendered in summary lines.
Excellent impressions such as this one are quite rare, since drypoint lines are very perishable and repeated passes through the printing press flattens the burr, compromising the rich blacks and slightly blurry lines. Because so few impressions can be taken with the burr intact, the first ones are the most important—and consequently the most sought after and expensive. Weary was also one of the last etchings Whistler made before temporarily giving up printmaking from 1863 to 1870.
Subject Matter:
Joanna Hiffernan, who was Whistler's model for his "White Girl" paintings, was the artist's muse and mistress. "Weary" focuses on Jo's vibrant red hair--known from the paintings--and the contrasting texture of the dark bodice that is closely fitted over her bosom. Jo's features are drawn with the most delicate drypoint lines, underscoring her vulnerability.
Physical Description:
A woman, leaning back in a curved armchair, sits at an angle to the viewer. Her face is presented in nearly strict profile, looking to the right; her long, waving hair cascades around her, framing her face. Her right arm is in her lap and her skirt is only lightly sketched in. At the lower left corner, another sketch of a woman's head (seen upside down) is visible.
Usage Rights:
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