End Notes
The Two women in White
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[1] Robert Wilson Torchia et al, ‘American Paintings of the Nineteenth Century: Pt II’, Catalogue of National Gallery of Art, Washington, 1998, at 243 https://www.nga.gov/content/dam/ngaweb/research/publications/pdfs/American%20Paintings%20of%20the%20Nineteenth%20Century%20Part%20II.pdf
[2] Also known as The White Girl, and later retitled by Whistler as Symphony in White, No 1
[3] Jon Michael Varese, “The Woman in White's 150 years of sensation” (Guardian, 26 November 2009). In the United States, the novel was published serially in Harper’s Weekly
[4] John Sutherland, ed, “Introduction” to Wilkie Collins, The Woman in White, Oxford World’s Classics, Oxford, 1996
[5] Sutherland, op cit
[6] Matthew Sweet, ed, “Introduction” to Wilkie Collins, The Woman in White, Penguin Books, London 1999 at xiii
[7] Sweet. op cit
[8] Sweet, op cit at xxiii
[9] Sutherland, op cit
[10] This quote has also been variously attributed, including to fellow sensation novelist Charles Reade
[11] Sweet, op cit at xvi; Kenneth Robinson, Wilkie Collins: A Biography, Davis Poynter, London, 1974
[12] Sweet, op cit at xv
[13] Robinson, op cit
[14] Such as Mary Elizabeth Braddon’s Lady Audley’s Secret (1862) and Ellen Wood’s East Lynne (1861)
[15] Sweet, op cit at xiv
[16] Cited in Sweet, op cit at xvii
[17] Rachel Teukolsky, “White Girls: Avant-Gardism and Advertising after 1860”, Victorian Studies, vol 51, No 3, 422, at 434, 432
[18] Teukolsky, op cit
[19] Dallas Liddle, “Wilkie Collins, The Woman in White (1859–60).” Victorian Review, vol. 35, no. 1, 2009, pp. 37–41
[20] Jerome Meckier, "Wilkie Collins's the Woman in White: Providence against the Evils of Propriety," Journal of British Studies 22, no. 1 (1982): 104-26, at 107. Accessed January 13, 2020. www.jstor.org/stable/175659
[21] Meckier, op cit at 109
[22] Robert Wilson Torchia et al, ‘American Paintings of the Nineteenth Century: Pt II’, Catalogue of National Gallery of Art, Washington, 1998, p 232, at 239 https://www.nga.gov/content/dam/ngaweb/research/publications/pdfs/American%20Paintings%20of%20the%20Nineteenth%20Century%20Part%20II.pdf
[23] Torchia, op cit at 240
[24] Elizabeth and Joseph Pennell, The Whistler Journal, Philadelphia 1921, cited in Torchia, op cit
[25] Cited in Torchia, op cit at 239
[26] Musée du Petit Palais, Paris. This painting, of lesbian lovers, was considered so shocking that it
was not publicly displayed for decades
[27] Torchia, op cit at 240
[28] Teukolsky, op cit at 426-7
[29] Teukolsky, op cit at 427
[30] Torchia, op cit at 240
[31] Torchia, op cit at 243
[32] Torchia, op cit at 242
[33] Torchia, op cit at 240
[34] Robin Spencer, Whistler, Studio Editions, London 1992 at 52
[35] Torchia, op cit at 241
[36] The concept of “art for art’s sake” is associated with the writings of the French poet and art critic Théophile Gautier, who expounded his aesthetic theory in the novel Mlle de Maupin (1834) and the poem Symphonie en blanc majeur: Torchia, op cit at 242.
© Philip McCouat, 2020. First published January 2020.
This article may be cited as “Philip McCouat, “The Two Women in White”, Journal of Art in Society www.artinsociety.com
[2] Also known as The White Girl, and later retitled by Whistler as Symphony in White, No 1
[3] Jon Michael Varese, “The Woman in White's 150 years of sensation” (Guardian, 26 November 2009). In the United States, the novel was published serially in Harper’s Weekly
[4] John Sutherland, ed, “Introduction” to Wilkie Collins, The Woman in White, Oxford World’s Classics, Oxford, 1996
[5] Sutherland, op cit
[6] Matthew Sweet, ed, “Introduction” to Wilkie Collins, The Woman in White, Penguin Books, London 1999 at xiii
[7] Sweet. op cit
[8] Sweet, op cit at xxiii
[9] Sutherland, op cit
[10] This quote has also been variously attributed, including to fellow sensation novelist Charles Reade
[11] Sweet, op cit at xvi; Kenneth Robinson, Wilkie Collins: A Biography, Davis Poynter, London, 1974
[12] Sweet, op cit at xv
[13] Robinson, op cit
[14] Such as Mary Elizabeth Braddon’s Lady Audley’s Secret (1862) and Ellen Wood’s East Lynne (1861)
[15] Sweet, op cit at xiv
[16] Cited in Sweet, op cit at xvii
[17] Rachel Teukolsky, “White Girls: Avant-Gardism and Advertising after 1860”, Victorian Studies, vol 51, No 3, 422, at 434, 432
[18] Teukolsky, op cit
[19] Dallas Liddle, “Wilkie Collins, The Woman in White (1859–60).” Victorian Review, vol. 35, no. 1, 2009, pp. 37–41
[20] Jerome Meckier, "Wilkie Collins's the Woman in White: Providence against the Evils of Propriety," Journal of British Studies 22, no. 1 (1982): 104-26, at 107. Accessed January 13, 2020. www.jstor.org/stable/175659
[21] Meckier, op cit at 109
[22] Robert Wilson Torchia et al, ‘American Paintings of the Nineteenth Century: Pt II’, Catalogue of National Gallery of Art, Washington, 1998, p 232, at 239 https://www.nga.gov/content/dam/ngaweb/research/publications/pdfs/American%20Paintings%20of%20the%20Nineteenth%20Century%20Part%20II.pdf
[23] Torchia, op cit at 240
[24] Elizabeth and Joseph Pennell, The Whistler Journal, Philadelphia 1921, cited in Torchia, op cit
[25] Cited in Torchia, op cit at 239
[26] Musée du Petit Palais, Paris. This painting, of lesbian lovers, was considered so shocking that it
was not publicly displayed for decades
[27] Torchia, op cit at 240
[28] Teukolsky, op cit at 426-7
[29] Teukolsky, op cit at 427
[30] Torchia, op cit at 240
[31] Torchia, op cit at 243
[32] Torchia, op cit at 242
[33] Torchia, op cit at 240
[34] Robin Spencer, Whistler, Studio Editions, London 1992 at 52
[35] Torchia, op cit at 241
[36] The concept of “art for art’s sake” is associated with the writings of the French poet and art critic Théophile Gautier, who expounded his aesthetic theory in the novel Mlle de Maupin (1834) and the poem Symphonie en blanc majeur: Torchia, op cit at 242.
© Philip McCouat, 2020. First published January 2020.
This article may be cited as “Philip McCouat, “The Two Women in White”, Journal of Art in Society www.artinsociety.com