These metal andirons were created by the Peacock Room’s original architect, Thomas Jeckyll, to complement the room’s beautiful design—a form of architectural jewelry, if you will. Although they’re not currently on view, the andirons remind me of the delightfully quirky humanity that often hides behind great masterpieces.
Decorated by American ex-pat artist James McNeill Whistler, the Peacock Room is a magnum opus: a breathtaking combination of artistic genius, technical mastery, and hubris. Visitors step inside and gasp. Crowds gather when the shutters open every third Thursday of the month. It is, without doubt, the most recognizable, memorable, and photographed single installation in the Freer|Sackler.
With its imposing importance, it’s easy to forget that the room was built to be a functional dining room—with, of course, a functioning fireplace. It was built for shipping magnate Frederick Leyland and his family’s London home. I like to imagine the meals and conversations held in this space, the fires that were poked at day in and day out. The Leylands must have fretted over details, planned menus, and proudly showed off their matching andirons to admiring guests.
It is also deeply human. The drama of the room’s decoration is arguably trumped by the stories of the people involved—the patron, Leyland; the architect, Jeckyll; the collector, Freer; and of course, the artist, Whistler. The andirons were commissioned by Leyland, a testament to his impressive attention to appearances, and acquired by Freer, a testament to Freer’s no less impressive quest to assemble Whistler’s complete oeuvre, down to the smallest detail.
The Peacock Room’s most dramatic personal histories take center stage with the incredible reimagining that opens May 16, Peacock Room REMIX: Darren Waterston’s Filthy Lucre. You won’t want to miss it! In the meantime, enjoy the details.
