#Joanna Hiffernan

[random-brushstrokes]

Gustave Courbet - Jo, La Belle Irlandaise (1866)

[anjbxarts]

Gustave Courbet - Jo, La Belle Irlandaise (1866)

Uma série de quatro retratos a óleo sobre tela na altura do busto feitos por Gustave Courbet.  A modelo irlandesa Joanna Hiffernan foi musa de Coubert e também de James McNeill Whistler, com a obra Symphony in White, No. 1: The White Girl.

Na wiki da Joanna diz que ela também pintava, mas não se tem registros das obras.

[soundsofmyuniverse]

James McNeill Whistler (1834 - 1903)

Symphony in White, No.1: The White Girl Portrait of Joanna Hiffernan (1862) detail

Symphony in White, No. 2: The Little White Girl (1864) detail

Symphony in White, No. 3 (1867) detail

[ub-sessed]

Jo, la belle irlandaise (Jo, the beautiful Irishwoman), oil on canvas, 1865/1866.

The "beautiful Irishwoman" depicted in this painting is Joanna Hiffernan (born 1842/43), mistress and model of the artist James McNeill Whistler (1834–1903), and perhaps subsequently Courbet’s lover. Although dated 1866, the picture was likely undertaken in 1865, when the two men painted together at the French seaside resort of Trouville; Courbet wrote of "the beauty of a superb redhead whose portrait I have begun."

--metmuseum.org

He painted four versions of this painting. One of them is at The Met, but the one shown above is at the Nationalmuseum in Stockholm.

Gustave Courbet (1819–1877), Jo, the Beautiful Irish Girl (details)

[philosophenstreik]

vor aller augen

von martina clavadetscher

erschienen 2022

im unionsverlag

isbn: 978-3-293-00587-7

(von tobias bruns)

19 berühmte porträts, allesamt porträts von frauen, gemalt von illustren künstlern und künstlerinnen von leonardo da vinci über édouard manet hin zu ferdinand holder. von rembrandt van rijn über jan vermeer hin zu egon schiele. von amadeo modigliani über edvard munch hin zu alice neel. porträts, die teilweise ikonen der kunstgeschichte sind wie beispielsweise vermeers “mädchen mit dem perlenohrgehänge”, gustave courbets “l´origine du monde” oder édouard manets “olympia”, bilder die fastjeder schon irgendwo einmal gesehen hat - sei es im original in ausstellungen oder als abbildung in werbungen, schulbüchern oder zeitschriften. aise porträts versammelt martina clavadetscher in diesem buch - und was macht sie? sie lässt die frauen zu wort kommen, die auf diesen gemälden abgebildet sind! viel weiß man über die künstler und künstlerinnen, die man zwar nicht sehen kann, die aber hinter den bildern stehen, doch was weiß man über die frauen, die abgebildet sind? es sind keine phantasiegestalten der kreativen köpfe, es sind “echte” personen, die hier für die ewigkeit gefangen sind, persönlichkeiten, charaktere, die den künstlern modell standen, saßen oder lagen, musen waren, die die künstler antrieben, der welt ihre werke zu schenken. martina clavadetscher lässt diese frauen hier in kurzen erzählungen wieder lebendig werden - aus dem gemälde herauskommen. sie beruft sich dabei auf historische fakten, aus bestätigten überlieferungen und spinnt drumherum die starken persönlichkeiten, nimmt den blickwinkel der frauen ein, die zu sehen sind und spricht so mit vielen stimmen. extrem kurzweilig ergibt sich so ein blick auf diese kunstwerke der einem zuvor scheinbar verstellt war, da man diese bilder ganz einfach “nur” als betrachter, nicht aber als betrachteter in augenschein nahm. clavadetscher fügt nun eine neue perspektive hinzu, die schlussendlich nicht nur den frauen ein “gesicht” gibt, sondern vielmehr noch auch einiges über die malenden preisgibt. so sind auf dem bild “olympia” von édouard manet gleich zei frauen zu sehen, keine der beiden heißt natürlich olympia, es sind zu sehen: victorine-louise meurent und laure. der betrachter aber kennt erstmal nur den titel und sieht die signatur des künstlers manet. doch verstecken sich interessante geschichten hinter den beiden modellen des künstlers, der nackt daliegenden dame victorine-louise und der hinter ihr mit einem riesen strauss stehenden laure. während erstere kunsthistorisch viel erforscht wurde, ging es bei laure mit der kunsthistorischen forschung erst vor nicht allzu langer zeit los - ein trauerspiel, aber leider kein wunder bei der immer “weissen” sicht der dinge in der westlichen welt. andere frauen, ein beispiel ist die rothaarige joanna hiffernan waren gleich muse für verschiedene künstler - in diesem fall für gustave courbet und james abbott mcneill whistler.

clavadetscher legt ein wunderbares buch vor. sie verbindet kunst mit literatur und fakt mit fiktion auf einzigartige weise und lässt so denen eine stimme zukommen, die viel zu lange “vor aller augen” geschwiegen haben. dieser lesespaß ist eine bereicherung sowohl für die kunst, als auch für die literatur.

[garlandedspirits]

”Symphony in White, No. 1: The White Girl” (1861-62)

“Symphony in White, No. 2: The Little White Girl” (1864)

by James McNeill Whistler

[peonies-and-dreams]

(how I spent my lunch break)

[fuzzysparrow]

Who was the model for Whistler's 'Symphony in White, No 1: The White Girl' (1861-63)?

Joanna Hiffernan’s reputation as the “Woman in White” developed after posing for Whistler’s painting 'The White Girl' (1861-63), later renamed 'Symphony in White, No 1'. Two more 'Symphonies in White' followed, which inspired other artists to paint similar scenes.

Hiffernan was born in Limerick, Ireland, in 1843, but moved with her family to London at the age of two to avoid the Irish Potato Famine. James Abbott McNeill Whistler (1834-1903) was born in Massachusetts, USA, to Anna McNeill (1804-81) and George Washington Whistler (1800-49). His mother is the subject of one of Whistler’s most famous paintings, 'Arrangement in Grey and Black No.1', more commonly known as 'Whistler’s Mother' (1871).

In 1860, Whistler met Hiffernan for the first time in London and fell in love with her copper coloured hair. Whistler started including Hiffernan in his paintings, and she eventually became his lover. Whistler’s iconic 'Symphonies in White' marked a turning point in his career and introduced Hiffernan to the world. Whistler began the first of the three paintings in Paris in 1861 and submitted it to the Royal Academy in May 1862 under the title 'The White Girl'.

After splitting from Whistler in 1866, she looked after Whistler’s son, the result of an affair with a parlour maid. Hiffernan’s probably died in 1886 after a short illness. Other sources claim Hiffernan died in 1903 after attending Whistler’s funeral but this was probably Hiffernan’s sister, Agnes.

[marions--square]

Symphony in White, No. 1 (The White Girl), James McNeill Whistler, (1862)

[random-brushstrokes]

James McNeill Whistler - Symphony in White, No. 1: The White Girl (1861–63)

[artfoli]

Jo, the Beautiful Irishwoman, 1866, by Gustave Courbet (1819-1877)

This painting in unique as it directly references its sitter by her first name: Joanna Hiffernan (c.1843 - c.1905). Many paintings did not usually refer to their muse on such friendly terms, but it succeeds in giving this one an even warmer air to it.

[books0977]

A White Note (1862). James McNeill Whistler (American, 1834-1903). Oil on canvas. Colby College Museum of Art.

A White Note features Joanna “Jo” Hiffernan, Whistler’s primary model and studio manager in the 1860s who posed for the artist’s series of Symphony in White paintings. This work shows the influence of the English painter-poet Dante Gabriel Rossetti. Whistler’s representation of a lone woman, devoid of any social context or moral message, expresses the sensibility of the emerging Aesthetic Movement then led by Rossetti. Whistler would become the chief spokesman for the movement, advocating an “art for art’s sake” focused on line, form, and color in the pursuit of beauty. Whistler and Rossetti became close friends in 1863, and A White Note was in Rossetti’s possession upon his death in 1882.

[sartle-blog]

Anti-Valentine’s Day

There are a lot of reasons to be upset recently. The changing political climate, immigrants being denied entry to our country, learning that Lady Gaga didn’t actually jump off the roof at the Super Bowl half time, and now to top it all off that one day a year designed to remind people how lonely they really are is upon us. Yes, the day of love letters, roses, and cheap heart shaped box chocolates is right around the corner. You may be thinking, I snagged me a Valentine this year so maybe things aren’t so bad. Well, I am here to remind you that even the most doting of relationships can turn sour.

Some say that artists feel emotions stronger than the average bloke, hence why they feel so compelled to tell their story by any means necessary. If that is the case, we can only assume they love hard, and hate even harder. We at Sartle love a juicy breakup story and if time had taught us anything it is this: the worse the relationship, the better the art. So here’s to some great art and terrible relationships!

Frida Kahlo and Diego Rivera

When thinking about bad artist relationships, the Frida and Diego fiasco always seems to find its way into the convo; probably because their relationship was all kinds of messed up. To give you a taste for what their relationship was like, listen to this gem of a quote from Kahlo, “I suffered two grave accidents in my life. One in which a streetcar knocked me down…The other accident is Diego.” If you openly admit that your husband is one of the great mistakes of your life, you might want to reevaluate your life decisions.  

Where do I even start with these two? They met in 1928 and a year later were hitched. Besides the fact that Diego was almost twice her age, this was his third marriage, which probably should have been a red flag for young Frida, but when the heart wants what it wants, common sense goes out the window. It only took two years for the affairs to begin and honestly, they never really stopped. They both had endless lovers, sometimes out of desire, and sometimes they just did it to piss the other one off. Why Diego decided to cheat on Frida with her little sister though will continue to remain a mystery.

Not surprisingly the two divorced, but ultimately ended up marrying again just one year later. Needless to say, nothing really changed and they returned to their tumultuous ways until Kahlo’s death fourteen years later.

Frida and Diego Rivera by Frida Kahlo, San Francisco Museum of Modern Art

Camille Claudel and Auguste Rodin

Sometimes it can feel as though our relationships are driving us crazy. In the case of Camille Claudel though, that is literally what happened after spending a bit too much time obsessing over the famed sculptor Auguste Rodin. Shortly after beginning her sculpting career, Rodin needed an assistant to help expedite his artistic practice, and Claudel was just the woman to do it. It didn’t take long for the two to start lusting after each other and with time, stone was no longer the only thing getting pounded down in that studio. The two shared an intense relationship that fueled their creative outlets as well. It was pretty much perfect, except for one little thing: Rodin was already married.

Claudel pleaded and begged, but Rodin refused to leave his wife…and this is when things started to get ugly. Claudel grew furious, she ain’t nobody’s mistress! As this vengeful side of Claudel began to become apparent to Rodin, he decided that she had become too much baggage for a fun fling and decided to boot her from his life. Claudel soon grew neurotic and experienced a complete breakdown, which landed her in a mental hospital where she lived until her death. That’s amore?    

The Mature Age by Camille Claudel, Orsay Museum

Pablo Picasso and Marie-Thérèse Walter

Since it appears that we have now entered the territory of lovers on the down low, we cannot forget about art history’s biggest playboy/womanizer: Pablo Picasso. Picasso had two marriages, six mistresses, and hundreds of other conquests (and who knows how many venereal diseases). Let’s have a gander at Marie-Thérèse Walter, for her tale is a brutally sad one, and as you know, we’re sticking with the theme that romance is probably dead. This dreamy saga started when Marie-Thérèse was only 17 years old, just a tad younger than Picasso’s 45. At the time their little affaire de coeur started, Picasso was already hitched to Olga Khokhlova, but as we know, the whole sanctity of marriage thing was a bit drab for the salacious artists.

The affair went on for eight years before Olga uncovered his philandering ways and ultimately took their children and skipped town. “Yes!” Marie-Thérèse must have thought “now I have him all to myself”. Wrong, so wrong. She should have known that old habits die hard. His eyes soon wandered to his next lover and muse Dora Maar. Rumor has it that when Marie-Thérèse found out about Dora, the two ladies entered into a physical catfight over the man’s affection. Marie-Thérèse ultimately lost and Picasso threw her out like day old chowder. Nonetheless, Marie-Thérèse never stopped loving him, and after his death, she hung herself out of sorrow.

Nude Woman in a Red Armchair by Pablo Picasso , Tate Britain 

Gustave Courbet, James Whistler, and Joanna Hiffernan

The tale of Gustave Courbet, James Whistler, and Joanna Hiffernan serves as a solid reminder that bros before hoes is actually some pretty good advice. Back in the day, painter James Whistler fell for the vivacious ginger Joanna Hiffernan. Sadly, when introduced to his family, they felt she was too loose and could not approve of his dating her. Turns out they may have been right about the whole hussy thing, but we’ll get to that later. Hiffernan decided to ignore his parents advice and develop what became a six year long relationship in which she both loved and modeled for him.

Whistler had a whole slew of cool artsy friends, one of which included painter Gustave Courbet. Naturally, Whistler introduced him to Jo and it didn’t take long for things to start blowing up. After learning that Courbet probably had an affair with Jo, and that he definitely painted a picture of her vagina, their friendship soon fell into peril. Shocker. Turns out painting an awkwardly up-close painting of your friend’s girlfriend’s hooha is totally against bro code protocol. Their friendship soon ended and ultimately neither of them ended up with Joanna. Turns out Whistler’s parents may have known what they were talking about after all.

Portrait of Jo, the Beautiful Irish Girl by Gustave Courbet, Metropolitan Museum of Art

Love is messy business. Perhaps that is why we invented Valentine’s Day to convince us that the tumultuous desires of the heart are actually a good thing. Or maybe it is just to sell us stuff we don’t need; Hallmark, I got my eye on you. Either way, to all you Valentine’s Day haters out there, I hope this blog has taught you one thing: maybe single life ain’t so bad after all.

By: Jennifer

[lilithlikesart]

Gustave Courbet - Le Sommeil (The Sleepers), 1866, - 1866: acquired by Halil Şerif Pasha - 1868: acquired by Jean-Baptiste Faure - 1953: acquired by municipality of Paris

Joanna Hiffernan and Constance Quéniaux are depicted here.

[tynatunis]

Have you heard the story of a woman portrayed in this masterpiece? ⁠ ⁠ Joanna Hiffernan and James Abbott McNeill Whistler met in London in 1861. He instantly fell in love with her striking red hair and outspoken character and the couple soon moved to Paris where Hiffernan became Whistler’s muse, partner, and modèle privilégié. For six years, Whistler couldn’t stop painting his muse. Her image became his obsession. Hiffernan managed Whistler’s accounts, organized their domestic life, and acted as an endless source of inspiration, while also being an artist in her own right.⁠ #Repost @dailyartmagazine Read ➡️ "Joanna Hiffernan: Artist, Model and Whistler’s Muse"⁠ [🔗link in bio] ⁠ 🖊 Louisa Mahoney⁠ @weeezybabyy⁠ ⁠ 🖼 James McNeill Whistler, Symphony in White, No. 2: The Little White Girl, 1864, @tate⁠ ⁠ #jamesmcneillwhistler #jameswhistler #joannahiffernan #impressionism #artherstory #19thcenturypainting #artoftheday https://www.instagram.com/p/CjzQSYxomdT/?igshid=NGJjMDIxMWI=