–Music would become a major source of inspiration for Whistler, directing the way in which he thought about his art and what he wanted to achieve. Recognising a similarity between his artistic objectives and his appreciation of music, he would later name his compositions musical titles, such as Symphony, Nocturne and Arrangement, investing a formal quality to his work. For Whistler, as music could offer instant emotions and meanings without the restraint of old subjects and themes, art too should be able to achieve the same instant impression, created by the use of colour and line to produce an instant effect.

In 1858 Whistler had become good friends with Henri Fantin-Latour, whom he met at the Louvre. Through this artist he was introduced to the circle of Gustave Courbet, which included Carolus-Duran (later the teacher of John Singer Sargent), Alphonse Legros and Édouard Manet. Fantin-Latour?s own work would have an influence on the early work of Whistler, as demonstrated in At the Piano. The use of strong black tones, conservative themes and” –underplayed emotions were hallmarks of Fantin-Latour?s style.

The 1859 canvas At the Piano illustrates the Artist’s lifetime fascination with music. Conjuring the tranquil scene of a music lesson, it features the Artist’s sister, Deborah Haden, and her daughter, Annie. The painting echoes the calm order and domestic setting of works by Jan Vermeer, recently popular with art spectators at London?s National Gallery, which Whistler no doubt greatly admired during his visit to England in the Christmas of 1858. Now the artist avoids Courbet?s direct handling of subject matter, opting instead for a more refined depiction of a realist scene. As the mother, dressed in pure black (due to the recent passing of Whistler?s father), looks down at the piano keys and the instruction she is giving, the daughter appears in stark contrast. She wears an elegant white dress with similar stockings. She leans against the piano, her arms folded on top of each other, her pose signalling a degree of weariness with the lesson, as her right foot seems poised behind the heel of her left foot. However, this is a scene of stillness, where the rigid, level horizontal lines and serious facial expression of the mother remind[É]” –we view the painting, as though we might hear the music at any moment.”