The Departure (1800's)

Morris, Philip Richard (1836 - 1902)

The Departure

Canvas Giclee

8"x12" $145.00
12"x18" $270.00
16"x24" $445.00
20"x30" $665.00
24"x36" $930.00
24"x43" $1,100.00
30"x54" $1,695.00
40"x60" $2,475.00

Paper Giclee

8"x10" $30.00
13"x19" $65.00
17"x22" $99.00

Oil on Canvas: 31" x 50"
Catalog# MORP-001

A young women, beckoned by her new husband from afar, gives her mother one last goodbye - her mother grasping, stealing every possible additional moment. It is early morning and a covered horse-drawn wagon shrinks as it drives toward daybreak. The night has brought rain and a soft road marked by a somber departure. The young woman is in an dark peach bonnet, white long-sleeved dress and a purple and pink patterned apron, and a dark blue under-dress. Her face is young, soft and sweet as she lovingly gives her mother one last farewell. Her mother is in a white bonnet, dark heavy shawl, red/brown dress and blue apron. Their shoes are flat and simple, warn with dark stockings. The old woman appears anxious and upset, not wanting to accept her daughter‘s perhaps permanent leave. An assumption of immigration can be made as this time bore many immigrants.

This composition offers a spectacle of old, quaint English country. A man in blue and his black collie tend to a herd of sheep to the left, with open land, a cottage and farmhouses with smoking chimneys lead to the right. A small black and white kitten plays in the right foreground, returning the viewer to the scene of farewell.

Morris, Philip Richard 1836-1902

  • Nationality: English
  • Date of Birth: 1 December 1836
  • Place of Birth: Devonport, Devon
  • Date of Death: 22 April 1902
  • Place of Death: London

Identity:

  • Philip Richard Morris, the son of a Devonport iron founder, was a painter by profession. He married a Mrs Sargentson.

Life:

Morris came into contact with Whistler through the artist Matthew Robinson Elden, a mutual friend, and in 1873 sat for Whistler in order that Whistler might finish painting the coat for Arrangement in Grey and Black, No. 2: Portrait of Thomas Carlyle.

However, in September and October 1877 Whistler quarreled with Elden. He wrote to Morris on 15 October 1877 of 'the flaw in the friendship like the crack in the china - it is useless to explain - the true ring has gone for ever'.

Describing their old friendship, Whistler emotively declared: 'Have you forgotten our old walks & talks in Chelsea? I had taken you into the intimacy of my work and believed in you as a strong sympathizer with whom all the mysteries of the studio might be freely shared - I made no secret of my daily experience but willingly offered these to my chosen companion & from painter to painter no confidences could have been more unrestricted'.

The reason for the quarrel lay in the fact that F. R. Leyland, having commissioned Whistler to paint Symphony in Flesh Colour and Pink: Portrait of Mrs Frances Leyland, but having not received it despite the painting's exhibition in 1874, commissioned Morris to paint the work. Whistler was further incensed at a request from Morris for the name of his frame-maker. He is said to have replied, 'If you've got the portrait then for God's sake have the frame'. The resulting portrait was exhibited at the Royal Academy in 1878. Whistler's portrait was eventually delivered to Leyland, and in 1906 both portraits were hanging in the sitter's drawing room.

Morris was a member of The Arts Club from 1875 until 1901. He was then living at 11 Queens Road, West Chelsea, and had a studio in Arber House, Grove End Place, now 33 St John's Road.