Harmony in Pink and Grey marks the end of Lady Meux and James Whistler's friendship.

The second of three portraits commissioned by Lady Meux (see “Arrangement in Black No. 5: Lady Meux”), this full-length portrait is deceitfully modest. Close inspection of the piece reveals that Lady Meux stands on the boards of a stage, alluding to her past as a cockish wench, dollymop, dirty puzzle, great horizontal, or actress/prostitute.

It was during sitting sessions for the third portrait that Whistler and Lady Meux’s harmonious relationship hit a note of discord. Rumor has it that after months of sitting in a dingy studio wearing nothing but hot furs (the portrait was to be called, ”Portrait of Lady Meux in Furs”) for the punctilious painter,  Lady Meux grew impatient and criticized his efficiency. Having been paid in advance, Whistler destroyed the painting and ceased all communication with his benefactress.

During the second Boer War Lady Meux had six twelve-pounder long guns made as a gift to the British navy. Obviously the gift was covered in tart cooties and therefore declined by the crotchety War Office. Without missing a beat, she sent the guns directly to South Africa where they met Sir Hedworth Lambton, the man who she would later appoint as her heir with the condition that he change his last name to Meux.

Constantly defiant and badass, Lady Meux spent the rest of her days collecting Egyptian artifacts (most of which were later bought by William Randolph Hearst) and making snooty Londonites feel uncomfortable with her tenacious spirit.