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This project explores the creative processes of the American-born artist, James McNeill Whistler (1834-1903), as an etcher and printer. A major figure in 19th century printmaking, he created 490 etchings.
- Whistler Etchings
This project explores the creative processes of the...
- Catalogue
This is a catalogue raisonné of the etchings drypoints and...
- Exhibition
James McNeill Whistler (1834-1903) built his career on a...
- Sets
The set was printed by Auguste Delâtre (1822-1907) at the...
- James McNeill Whistler
On honeymoon, Whistler taught her to etch and she organised...
- Whistler Etchings
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James McNeill Whistler was an American artist renowned for the paintings, etchings and drawings he made in Europe in the second half of the 19th century. Best known among these are the hazily evocative night scenes known as his ‘Nocturnes’; his portraits; and the painting of his lover Joanna Hiffernan from 1862, Symphony in White, No.1: The ...
Among history’s most inventive and influential printmakers, Whistler made nearly 500 etchings over five decades. As a gifted young draftsman, he recognized the medium’s ability to record and reproduce sketches scratched quickly into the wax coating of copper plates; as a mature artist, he immersed himself in the complexities of etching ...
- Youth
- Europe
- Exhibitions
- Art For Art's Sake
- Arrangement in Grey and Black
- The Peacock Room
- Whistler vs Ruskin
- The Venice Set
- Travels
- The 'Ten O'clock' Lecture
George Washington Whistler's work took the family to Russia in 1843-48. The younger Whistler studied art with a student, A. O. Koritskii, and at the Imperial Academy of Fine Arts in St Petersburg. When he was ill, he saw a book of Hogarth engravings that made a lasting impression on him. In London, he saw Rembrandt etchings owned by his brother-in-...
He attended classes at the Ecole Impériale et Spéciale de Dessin in Paris, and the studio of Charles Gleyre. He visited the Art Treasures Exhibition in Manchester in 1857, forming a life-long passion for the Dutch masters and Velasquez. In the Musée du Louvre, he met Henri Fantin Latour and, through him, entered the circle of Gustave Courbet, leade...
However, his love of colour, fame, and money, drew him to painting. A realistic oil, La Mère Gérard (YMSM 26), was his first Royal Academy exhibit, in 1861. It was followed in 1862 by The Coast of Brittany (YMSM 37), painted from nature, but with a lighter range of colour and thinner paint. A Thames-side conversation piece, Wapping (YMSM 35), start...
In 1865, when the second 'Symphony in White', The Little White Girl (YMSM 52), was exhibited at the Royal Academy, Whistler met Albert Moore, and together they explored the ideals of 'Art for Art's sake'. Whistler, wishing he had been a pupil of Ingres, began a series of paintings of classically draped women and flowers on a musical theme, known as...
In 1871 Whistler painted a deeply felt portrait of his mother, restrained in colour and severe in composition. In 1872 this Arrangement in Grey and Black: Portrait of the Painter's Mother (YMSM 101) barely escaped rejection at the Royal Academy. It was the last painting he exhibited there, yet it entered the Musée du Luxembourg twenty years later a...
Whistler worked on a decorative scheme for Leyland's London house at 49 Princes Gate from 1876-77. The dining room was transformed into an all-embracing Harmony in Blue and Gold based on peacock motifs, far exceeding Leyland's wishes. He paid half the 2000 guineas asked, and Whistler lost a patron. He collaborated with Edward W. Godwin on a stand a...
The influential art critic, John Ruskin, had singled out Nocturne in Black and Gold: The Falling Rocket (YMSM 170)at the Grosvenor Gallery, writing that he 'never expected to hear a coxcomb ask two hundred guineas for flinging a pot of paint in the public's face' (Fors Clavigera, 2 July 1877, pp. 181-213). In the ensuing libel case, Whistler justif...
With a commission from the Fine Art Society, London dealers, for a set of twelve etchings, he left for Venice. He stayed over a year, producing 50 etchings and over 90 pastels of back streets and canals, bead-stringers and gondoliers. He joined Frank Duveneck and his students in the Casa Jankowitz, and worked on etchings with Otto Bacher. Such etch...
He travelled widely in England and Continental Europe, and his work was exhibited in Europe and America. The first watercolour he exhibited in New York, at the Pedestal Fund Art Loan Exhibition in 1883, was Snow, painted in Amsterdam in 1882. In 1884 he painted seascapes in St Ives with his pupils, the Australian born Mortimer Menpes, and the Engli...
In 1885 he delivered the 'Ten O'Clock' lecture in Prince's Hall (published in 1888), an eloquent exposition of his views on art and artists. Stéphane Mallarmé translated it into French and introduced Whistler to the Symbolist circle in Paris. Extensive correspondence and subjects like Purple and Gold: Phryne the Superb! – Builder of Temples (YMSM 4...
This is a catalogue raisonné of the etchings drypoints and mezzotints produced by James McNeill Whistler during his working career, between 1854 and his death in 1903. It is intended as a comprehensive guide to these works based on the works themselves, the copper plates, and documentary or published records.
Printmaking. Zaandam, the Netherlands, c. 1889 – etching by James McNeill Whistler. Whistler produced numerous etchings, lithographs, and dry-points. His lithographs, some drawn on stone, others drawn directly on "lithographie" paper, are perhaps half as numerous as his etchings.
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www.metmuseum.org · art · collectionJames McNeill Whistler | Black Lion Wharf | The Metropolitan ...
When he moved to London in 1859, Whistler lodged near the Thames in the docklands south of Tower Bridge and began to make etchings of the river. New visual modes are explored here, with cropped forms and distinct spatial zones recalling Japanese woodblock prints—a genre he began collecting in Paris.
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