Alice - William Merritt Chase
Archival giclée
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Description
A portrait of the artist's daughter, Alice, captured in a studio setting with painterly attention to texture and light.
William Merritt Chase painted this portrait of his daughter, Alice, during the early 1890s. The work captures the young girl in profile, standing within the artist's studio. She wears a light-coloured dress with lace detailing and a small bonnet, contrasting with the heavier textures of the surrounding environment. Chase employs a painterly technique, using visible brushwork to define the folds of the fabric and the soft light falling across the scene.
The composition is structured around the verticality of the figure, set against a backdrop that includes a large, draped red curtain, a wooden chair with tassels, and a piano. A framed picture hangs on the wall behind her, adding a layer of domestic detail to the studio setting. The palette is dominated by warm, muted tones, with the deep red of the drapery providing a visual anchor. Chase was known for his ability to render textures, and here he focuses on the interplay between the delicate lace of the child's attire and the solid forms of the furniture.
This painting reflects the artist's interest in the aesthetic movement, where the arrangement of objects and the quality of light were as important as the subject itself. The studio environment, often filled with props and curiosities, served as a frequent subject for Chase. By placing his daughter in this curated space, he creates a quiet, observational study. The work avoids sentimentality, instead prioritising the formal qualities of paint application and the balance of light and shadow. It remains a representative example of his studio portraiture, demonstrating his technical proficiency and his eye for composition within a controlled interior space.
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Because every print is made to order, we don't offer change-of-mind returns, refunds or exchanges. If your order arrives faulty, damaged or incorrect, we'll replace it free of charge — just contact us within 48 hours of delivery. See our refunds page for full details.
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Manufacturing
Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
Alice - William Merritt Chase
Artist Biography
William Merritt Chase
He studied at the Royal Academy of Munich, came home with a technique influenced by Velazquez and the dark tonalities of the old Dutch masters, and became one of the most important art teachers in American history. His pupils included Georgia O'Keeffe, Edward Hopper, Charles Sheeler, Joseph Stella, Marsden Hartley and Rockwell Kent. The list reads like a syllabus for twentieth-century American art.
In 1891 he founded the Shinnecock Hills Summer School on Long Island, the first plein-air painting school in the United States. His friend Stanford White designed his summer house there, with an integral studio. He taught outdoors, painting the dunes and scrubland of the South Fork with a luminous palette that anticipated the Impressionism he would later formally adopt. He was invited to join The Ten, the leading American Impressionist group, in 1902.
His most famous still-life subject was dead fish: whole fish lying on a plate against a dark background, painted with the same tonal precision he brought to landscapes and portraits. The subject sounds monotonous but the paintings are extraordinary, each fish rendered as an individual study in colour and light.
He was not modest. He decorated his studio with antiques and costumes and posed for photographs wearing a top hat. He believed art was a serious profession that deserved serious presentation, which for Chase meant looking like he meant it.
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