Who Was Dora Wheeler?

Chase_Portrait of Dora Wheeler

William Merritt Chase, Portrait of Dora Wheeler, 1882–83. Oil on canvas, 62 5/8 x 65 1/8 in. The Cleveland Museum of Art, Gift of Mrs. Boudinot Keith in memory of Mr. and Mrs. J. H. Wade

This is one of William Merritt Chase’s defining early masterworks that showcases his burgeoning talent as a still life painter and portraitist. Dora Wheeler was one of the artist’s first private students. Chase painted this portrait just as Wheeler returned from her training at the Academie Julian in Paris to establish a career in New York. The portrait exudes the quiet dignity of the sitter with the assured placement of her curled hand on her face, relaxed pose, and direct eye contact with the viewer. Dora’s mother, Candace Wheeler, owned a decorative textile firm, Associated Artists, in which her daughter worked as a designer. In the same building was Dora’s own art studio, where Chase painted this portrait. She sits on a grand Elizabethan chair with a blue art deco bowl full of narcissus on top of a carved ebony Chinese tabouret. The brilliant golden tones of the hanging tapestry extending from one edge of the canvas to the other serve as a dramatic foil to the rich brown and blue contrasting tones.

From the beginning, Chase conceived of the painting as an exhibition piece, one that would showcase his virtuosity and bolster his reputation. Chase’s approach builds on the legacy of the opulent illusionism of his Munich manner and asserts, with its richly layered palette of yellows, blues, and browns, the vibrancy of color and virtuoso brushwork that earned the artist international acclaim. Indeed, the groundbreaking nature of Portrait of Dora Wheeler catapulted Chase’s career, earning him honorable mention in 1883 at the Paris Salon and the gold medal in Munich’s Crystal Palace exhibition.

By contrast, the following year, when the painting made its United States debut in the Society of American Artists exhibition, it met with mixed praise because of its radical departure from the conventions of portrait painting. In his review of the show, painter W.C. Brownell expressed his dismay at how unagreeable the portrait was, arguing that Miss Wheeler “counts for next to nothing in it”—a mere decorative prop in the overall ensemble. Perhaps emulating the artist Whistler who signed his works with a butterfly, here Chase inscribed his personal insignia into the painting. Look at the upper left of the painting for the cat chasing its tail.

Elsa Smithgall, William Merritt Chase: A Modern Master exhibition curator

Artistic Echoes: Chase and Whistler

Chase_The Young Orphan

William Merritt Chase, The Young Orphan, c. 1884. Oil on canvas, 44 x 42 in. National Academy Museum, New York

The Young Orphan is one of William Merritt Chase’s boldest early compositions, exemplifying his experimentation with an abstract, expressive language of color and form. Chase likely found his model for the picture from the Protestant Half Orphan Asylum, located next door to his Tenth Street studio at 61 West 10th Street. Thinly painted in gradations of red and black on a coarsely woven canvas, the painting recalls the atmospheric, subtle color harmonies in the work of the well-known American artist James Abbott McNeill Whistler, whom Chase greatly admired. Whistler’s Arrangement in Gray and Black No. 1 (Portrait of the Artist’s Mother) had been a sensation in New York’s 1882 Society of American Artists exhibition and in the Paris Salon of 1883. The year after he completed this picture, Chase spent the summer with Whistler in London, where he produced the portrait of Whistler.

Elsa Smithgall, William Merritt Chase: A Modern Master exhibition curator

5 Disgruntled Characters from the Collection

Not every sitter is excited to be painted. The Phillips owns a wide range of portraits, and within them, all manner of expressions. Here are five less-than-enthused subjects from the museum’s permanent collection.

1. Chaim Soutine’s Woman in Profile  is #NotImpressed.

Soutine_woman in profile

Chaim Soutine, Woman in Profile, ca. 1937. Oil on canvas, 18 13/8 x 10 7/8 in. The Phillips Collection, Washington, DC. Acquired 1943; © 2015 Artists Rights Society (ARS), New York, NY

2. Paul Klee, The Witch with the Comb. The fierce brows say it all.

Klee_the witch with the comb

Paul Klee, The Witch with the Comb, 1922. Lithograph, 20 7/8 in x 16 3/4 in x 1 1/4 in. The Phillips Collection, Washington, DC. Gift of B. J. and Carol Cutler, 2006; © 2015 Artists Rights Society (ARS), New York, NY

3. Sensing some side-eye from Joseph Solman’s Portrait in Yellow and Blue.

Solman_portrait in yellow and blue

Joseph Solman, Portrait in Yellow and Blue, not dated, Oil on canvas 20 x 16 in. The Phillips Collection, Washington, DC. Acquired 1954

4) Jean-Baptiste-Camille Corot’s Portrait of a Woman unsuccessfully feigning interest.

Corot_portrait of a woman

Unsuccessfully feigning interest. Jean-Baptiste-Camille Corot, Portrait of a Woman, 1870, Oil on canvas, 22 7/8 in x 19 in x 1 5/8 in. The Phillips Collection, Washington, DC. Acquired 1922

5. Thomas Eakins, Miss Amelia Van Buren. Read what visitors told us she’s thinking in these earlier blog posts.

Eakins_Miss Amelia Van Buren

Thomas Eakins, Miss Amelia Van Buren, ca. 1891. Oil on canvas, 45 x 32 in. The Phillips Collection, Washington, DC. Acquired 1927

To end on a happy note: channel this woman from Sam Taylor-Johnson’s Cry Laughing!

taylor-johnson_cry laughing

Sam Taylor-Johnson, Cry Laughing, 1997. 8 C-type prints on aluminum, each print: 16 x 12 in. The Phillips Collection. Gift of the Heather and Tony Podesta Collection, Washington, DC, 2011