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tion of varnish has dramatically affected the cool tones of nocturnes and some

portrait backgrounds.

Acknowledgments

This research has been a collaboration between the author and Dr. Joyce Townsend,

who also carried out all the pigment analysis and investigated the media. Medium

analysis was also carried out by the Institute for Atomic and Molecular Physics,

Amsterdam. The author expresses his gratitude to Prof. Jaap Boon and Jos Pu reveen

for this work. Appreciation is also extended to the Hunterian Art Gallery, Glasgow,

and to the National Gallery of Art, Washington, for allowing access to their collec­

tions; and to colleagues at the Tate GaLlery.

Notes

1. McLaren Young, A., M. F MacDonald, and R. Spencer, with the assistance of
   A. Miles. 1990. The Pailltings oj james McNeill Whistler. New Haven and London.


2. Dorment, R., and M. MacDonald. 1994. james McNeill Whistler. Exhibition cat­
   alogue. London: Tate Gallery.


3. Hackney, S. 1994. Colour and tone in Whistler's nocturnes and harmonies. TIle
   Burlington Magazine. Vol. CXXXVI, (1099): 695-99.


4. Pennell, E. R.., and J. Pennell. 1911. The Life oj james McNeill Whistler. 5th rev. ed.
   London: Heinemann, 113-1 7.


5. Townsend, J. H. 1994. Whistler's oil painting materials. The Burlington Magazine.
   Vol. CXXXVI (1099):690-95.


6. Pennell, op. cit., 375-78.


7. Menpes, M. 1904. Whistler as I Knew Him. London: Adam and Charles Black, 69-
   71.


8. Sickert, W. 1930. Walter Sickert's class: methods of instruction. Manchester Guardian,
   31 November.

Historical Painting Techniques, Materials, and Studio Practice