Fulton J Sheen on ' Whistler's Mother'

                                                    http://www.ignatiusinsight.com/features2007/fsheen_marytwfl_nov07.asp
From The World's First Love: Mary, Mother of God Archbishop Fulton J. Sheen

We should not be surprised that she is spoken of as a thought by God before the world was made. When Whistler painted the picture of his mother, did he not have the image of her in his mind before he ever gathered his colors on his palette? If you could have preexisted your mother (not artistically, but really), would you not have made her the most perfect woman that ever lived—one so beautiful she would have been the sweet envy of all women, and one so gentle and so merciful that all other mothers would have sought to imitate her virtues? Why, then, should we think that God would do otherwise? When Whistler was complimented on the portrait of his mother, he said, "You know how it is; one tries to make one's Mummy just as nice as he can." When God became Man, He too, I believe, would make His Mother as nice as He could—and that would make her a perfect Mother.

James McNeill Whistler, Arrangement in Grey and Black, No.1:

Portrait of the Artist's Mother,1871, oil on canvas. Musee d'Orsay, Paris.

Who Was Whistler’s Mother?http://www.dia.org/exhibitions/whistlersite/grey.htm

 Anna McNeill Whistler was a model woman according to the Victorian standards of her day: she was pious, submissive, and her life centered on domestic issues. She lived in three countries, witnessed the United States Civil War, often served as her son’s art agent and, later in life, was fascinated by the eclectic group of individuals that formed her son’s artistic circle.

She suffered great tragedy at an early age, losing her husband and three of her children to illness while the family lived in Russia. In 1863 she moved to London and lived on and off with James and her other children. She was very involved in James’s life, and was familiar with his fellow artists, students, patrons and collectors. She wrote that the: “artistic circle in which he is only too popular, is visionary and unreal tho so fascinating.”
As was customary for a woman of her social class, Anna Whistler kept in touch with her family and friends through letters. Today, her correspondence is used by historians seeking to understand the social issues of the day, and by art historians who find her descriptions of her son’s work and life an invaluable resource. Following is an excerpt from a letter to her sister where she discusses sitting for her portrait: “I was not as well then as I am now, but never distress Jemie [James] by complaints, so I stood bravely, two or three days, whenever he was in the mood for studying me as his pictures are studies, and I so interested stood as a statue! But realized it to be too great an effort, so my dear patient Artist who is gently patient as he is never wearying in his perseverance concluding to paint me sitting perfectly at my ease.”