During the next three years he worked hard, and finished a number of pictures that since then have made history. They are all in a lighter key and of brilliant colouring. The problem he seemed to be most interested in was to reproduce in relief the charm of diversified colour patches as seen in Japanese prints.
He continued to see things in this way until he made a trip to South America in 1866. Feeling, perhaps, slightly discouraged, or in need of some recreation, he and his brother set out for Chili, under the pretence of joining the insurgents à la Poe and Byron, although I hardly believe that a man of thirty-two really capable of such a wild goose chase. At all events, when they reached Valparaiso the rebellion had ceased and instead of handling a musket "our Jimmie" opened his paint box instead.
The result was startling. Impressed by the new sights of southern scenery, and in particular of the translucency and subdued brilliancy of the sky at night, he painted one of his finest nocturnes, the "Valparaiso Harbour," now at the National Gallery of Art. The darkness of night to a large extent bars colour, and furnishes a kind of tonal veil over all objects; but in southern countries the nights are clearer and brighter and, although forms and colours are indistinct, they remain more plainly discernible than in the blackness of our Northern nights.
After his return to London he worked hard at solving the problem of creating tone which would suggest atmosphere with as little subject matter as possible. Four years passed before he held the first exhibition of a "Variation" and "Harmony." He now began to feel his own strength. He felt that he had done something new and had the courage to coin his own titles. The method of classifying his pictures as Harmonies and Symphonies, Arrangements, Nocturnes, Notes, and Caprices, was entirely his own invention and in his earlier career did much to attract attention to his work. One year later, in 1872, exhibiting several symphonies, he included for the first time an impression of night under the title of "Nocturne." The years 1870-77 were probably the busiest and the most important ones of his whole career. They produced not only the "Nocturne," but also the "Peacock Room" and the painting which is generally conceded to be his masterpiece, the "Portrait of the Artist's Mother."
Success and fame at last knocked at his door. Mr. F. R. Leyland, the rich ship-owner of Liverpool, proved a generous patron. Between 1872 and 1874 he ordered portraits of himself, Mrs. Leyland and the four children. Whistler made long visits at Speke Hall, Leyland's home near Liverpool. His paintings began to sell more readily than heretofore and several orders for interior decoration had come in, among them the decoration of the music room of the famous violinist Sarasate's home in Paris. He was willing to work at anything as long as he could carry out his own ideas. He invented schemes for interior decoration and also once tried himself as an illustrator, when he made exquisite drawings of the vases, plates, cups of blue and white Nankin for the catalogue of Sir H. Thompson's collection of porcelain. (Ellis and Elvey, London, 1878.)
National Gallery, Washington
ARRANGEMENT IN BLACK: F. R. LEYLAND.
After leaving 7 Linsey Row, during the years 1866-1878, Whistler lived in several other houses situated in the Chelsea district, for like so many of us that have got used to a certain part of the city, he could never get away from it. The most pretentious of these abodes was the "White House" which became one of the centres of attraction in the art life of London.
There he gave his famous Sunday morning breakfasts, which Mr. Harper Pennington describes so amusingly: "They were always late in being served, outrageously delayed without apparent cause. It was no uncommon thing for us to wait an hour, or even two, for the eggs, fish, cutlets, and a sweet dish of which the meal consisted. A bottle of very ordinary white wine was our only drink." The whole thing, in fact, was an "arrangement"—just a colour scheme in yellow to match his "blue and white" porcelain and his "yellow and blue" dining room. The room itself was unique in its effective and independent style of decoration. It was entirely carried out after his own designs, even to the painting of the exterior. And the environment, the Thames, the old church of Chelsea with its square tower, the peculiar shaped bridge of Battersea, the lights of Cremorne in the distance, all furnished interesting pictorial topics and played an important part in the painter's mise en scène.