Janey Sevilla, popularly referred to as Lady Archibald Campbell, followed in the footsteps of every woman who married into high society by declaring her prosperous reputation through a series of portraits. Encouraged by her husband’s friendship with the artist, Lady Campbell posed against a black velvet backdrop in James Abbott McNeill Whistler’s studio for over six hours, only to ensure her complexion is perfectly portrayed in the most aristocratic light. Draped in furs, Whistler’s portrayal of Lady Campbell boasts her reputation through her eyes, clearly gesturing to the warm fabrics that she cradles toward her body while simultaneously melting into the luxury of her background. The combination of her black dress with the identical shade of her surroundings shields her sexuality by confusing the feminine outline of her body with the shadows in the drapes.

In early May of 1884, Whistler wanted to display the portrait at the Grosvenor Gallery in Paris, only to be spited by the Campbell family, who claimed the portrait likened Lady Campbell to that of a common prostitute. Lady Campbell explicitly rejected the painting, refusing even to admire it after her husband’s expression of disappointment. Whistler evaded the Campbell’s distaste and submitted the painting to Paris’s 1889 Exposition Universelle, where it won the organization’s most commendable prize- the gold medal. Degas even sang his praises for the work, claiming that the painting should “go into the cellar of Watteau.”

Strangely, the painting was mounted in the forefront of the Campbell household within the next year. Lady Campbell claimed her initial misinterpretation of the painting was due to the day’s wiles, and that her disappointment was not an accurate representation of her sentiments.

Lord Campbell made no remark towards the painting, but quickly renewed his friendship with Whistler shortly after his wife issued the formal apology.