Portrait of Count Robert de Montesquiou - James McNeill Whistler
Archival giclée
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Description
A refined lithographic portrait of the French poet Count Robert de Montesquiou, captured by James McNeill Whistler with atmospheric tonal depth.
This lithograph depicts the French poet and dandy Count Robert de Montesquiou, a figure who occupied a specific position within the Parisian social and literary circles of the late nineteenth century. James McNeill Whistler, known for his interest in tonal harmony and the atmospheric quality of his subjects, captures the Count in a pose that suggests both elegance and a degree of detachment. The work relies on the medium of lithography to create a soft, almost ethereal texture, where the figure emerges from a dark, gestural background.
Whistler employs a technique of layered marks to define the form of the Count, who is dressed in formal attire. The lines are not rigid, but rather suggest the movement and presence of the sitter through varied pressure and density. The background is composed of rapid, diagonal strokes that provide a sense of depth without relying on traditional perspective. This approach allows the focus to remain on the silhouette and the facial expression of the subject, who looks directly toward the viewer with a composed, slightly enigmatic gaze.
This print is part of a larger body of work Whistler produced during his time in Paris, where he engaged with the lithographic medium to explore the possibilities of black and white tonal ranges. The portrait reflects the artist's interest in the personality of his sitters, often stripping away extraneous detail to focus on the essential character of the individual. By avoiding sharp outlines, Whistler creates a sense of atmosphere that surrounds the figure, typical of his later graphic work. The result is a study in light and shadow, where the medium itself contributes to the overall mood of the piece, presenting a refined and contemplative image of one of the most recognisable figures of the era.
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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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We ship worldwide, printing at the production hub nearest to your delivery address. Delivery times and costs vary by destination — you'll see the options available to you at checkout.
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
Portrait of Count Robert de Montesquiou - James McNeill Whistler
Artist Biography
James Mcneill Whistler
He was born in 1834 in Lowell, Massachusetts. His father, a civil engineer, took the family to St Petersburg to advise on the railroad to Moscow. The young Whistler took drawing classes at the Imperial Academy of Sciences. After the West Point disaster, he briefly worked for the US Coast and Geodetic Survey, learning the etching techniques he would use for the rest of his career, then left for Paris. He never lived in America again.
The painting everyone knows as Whistler's Mother is actually called Arrangement in Grey and Black No. 1. He named his works with musical terms (Nocturnes, Arrangements, Harmonies, Symphonies) to insist that painting was about tonal composition, not subject matter. The painting of his mother was about grey and black. That it also depicted his mother was, in principle, secondary.
In 1877, John Ruskin reviewed his Nocturne in Black and Gold: The Falling Rocket and wrote that he never expected to hear a coxcomb ask two hundred guineas for flinging a pot of paint in the public's face. Whistler sued for libel. The case was heard over two days in November 1878. He won, and was awarded damages of one farthing, the least valuable coin in the realm. The legal costs bankrupted him.
He signed his work with a butterfly. It started as a monogram inspired by the potter's marks on Chinese ceramics he collected, gradually evolving into an abstract butterfly shape. Around 1880, he added a stinger to it, representing both the delicate and the combative sides of his personality. The Peacock Room, his masterpiece of decorative art, extended his obsession with total harmony from a single painting to an entire architectural space.
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