James McNeill Whistler
James McNeill Whistler | |
---|---|
Born | July 10, 1834 |
Died | July 17, 1903 London, England, UK | (aged 69)
Nationality | American |
Education | United States Military Academy, West Point, New York |
Known for | Painting |
Notable work | Whistler's Mother |
Movement | Founder of Tonalism |
Spouse | |
Parents | |
Awards |
|
James Abbott McNeill Whistler
His signature for his paintings took the shape of a stylized butterfly with an added long stinger for a tail.
Early life
Heritage
James Abbott Whistler was born in Lowell, Massachusetts on July 10, 1834,[4][5][6] the first child of Anna McNeill Whistler and George Washington Whistler, and the elder brother of Confederate surgeon William McNeill Whistler.[citation needed]
In later years, Whistler played up his mother's connection to the
New England
His father was a railroad engineer, and Anna was his second wife. James lived the first three years of his life in a modest house at 243 Worthen Street in Lowell, Massachusetts.
Whistler was a moody child, prone to fits of temper and insolence, and he often drifted into periods of laziness after bouts of illness. His parents discovered that drawing often settled him down and helped focus his attention.[11]
The family moved from Lowell to
Russia and England
In 1842, his father was recruited by Nicholas I of Russia to design a railroad in Russia. The Emperor learned of George Whistler's ingenuity in engineering the Canton Viaduct for the Boston & Albany Railroad, and he offered him a position engineering the Saint Petersburg-Moscow Railway. The rest of the family moved to St. Petersburg to join him in the winter of 1842/43.[7]
After moving to St. Petersburg, the young Whistler took private art lessons, then enrolled in the Imperial Academy of Arts at age eleven.[10] The young artist followed the traditional curriculum of drawing from plaster casts and occasional live models, revelled in the atmosphere of art talk with older peers, and pleased his parents with a first-class mark in anatomy.[14] In 1844, he met the noted artist Sir William Allan, who came to Russia with a commission to paint a history of the life of Peter the Great. Whistler's mother noted in her diary, "the great artist remarked to me 'Your little boy has uncommon genius, but do not urge him beyond his inclination.'"[15]
In 1847–1848, his family spent some time in London with relatives, while his father stayed in Russia. Whistler's brother-in-law Francis Haden, a physician who was also an artist, spurred his interest in art and photography. Haden took Whistler to visit collectors and to lectures, and gave him a watercolour set with instruction.[citation needed]
Whistler already was imagining an art career. He began to collect books on art and he studied other artists' techniques. When his portrait was painted by Sir William Boxall in 1848, the young Whistler exclaimed that the portrait was "very much like me and a very fine picture. Mr. Boxall is a beautiful colourist... It is a beautiful creamy surface, and looks so rich."[16] In his blossoming enthusiasm for art, at fifteen, he informed his father by letter of his future direction, "I hope, dear father, you will not object to my choice."[17] His father, however, died from cholera at the age of 49, and the Whistler family moved back to his mother's home town of Pomfret, Connecticut.[citation needed][18]
The family lived frugally and managed to get by on a limited income. His art plans remained vague and his future uncertain. His cousin reported that Whistler at that time was "slight, with a pensive, delicate face, shaded by soft brown curls... he had a somewhat foreign appearance and manner, which, aided by natural abilities, made him very charming, even at that age."[19]
West Point
Whistler was sent to Christ Church Hall School with his mother's hopes that he would become a minister.
His departure from West Point seems to have been precipitated by a failure in a chemistry exam where he was asked to describe silicon and began by saying, "Silicon is a gas." As he himself put it later: "If silicon were a gas, I would have been a general one day".[23] However, a separate anecdote suggests misconduct in drawing class as the reason for Whistler's departure.[24]
First job
After West Point, Whistler worked as
At this point, Whistler firmly decided that art would be his future. For a few months he lived in Baltimore with a wealthy friend, Tom Winans, who even furnished Whistler with a studio and some spending cash. The young artist made some valuable contacts in the art community and also sold some early paintings to Winans. Whistler turned down his mother's suggestions for other more practical careers and informed her that with money from Winans, he was setting out to further his art training in Paris. Whistler never returned to the United States.[27]
Art study in France
Whistler arrived in Paris in 1855, rented a studio in the
While letters from home reported his mother's efforts at economy, Whistler spent freely, sold little or nothing in his first year in Paris, and was in steady debt.[30] To relieve the situation, he took to painting and selling copies from works at the Louvre and finally moved to cheaper quarters. As luck would have it, the arrival in Paris of George Lucas, another rich friend, helped stabilize Whistler's finances for a while. In spite of a financial respite, the winter of 1857 was a difficult one for Whistler. His poor health, made worse by excessive smoking and drinking, laid him low.[31]
Conditions improved during the summer of 1858. Whistler recovered and traveled with fellow artist Ernest Delannoy through France and the Rhineland. He later produced a group of etchings known as "The French Set", with the help of French master printer Auguste Delâtre . During that year, he painted his first self-portrait, Portrait of Whistler with Hat, a dark and thickly rendered work reminiscent of Rembrandt.[10] But the event of greatest consequence that year was his friendship with Henri Fantin-Latour, whom he met at the Louvre. Through him, Whistler was introduced to the circle of Gustave Courbet, which included Carolus-Duran (later the teacher of John Singer Sargent), Alphonse Legros, and Édouard Manet.[20]
Also in this group was Charles Baudelaire, whose ideas and theories of "modern" art influenced Whistler. Baudelaire challenged artists to scrutinize the brutality of life and nature and to portray it faithfully, avoiding the old themes of mythology and allegory.[32] Théophile Gautier, one of the first to explore translation qualities among art and music, may have inspired Whistler to view art in musical terms.[33]
London
Reflecting his adopted circle's banner of the Realism art movement, Whistler painted his first exhibited work, La Mère Gérard in 1858. He followed it by painting At the Piano in 1859 in London, which he adopted as his home, while also regularly visiting friends in France. At the Piano is a portrait composed of his niece and her mother in their London music room, an effort which clearly displayed his talent and promise. A critic wrote, "[despite] a recklessly bold manner and sketchiness of the wildest and roughest kind, [it has] a genuine feeling for colour and a splendid power of composition and design, which evince a just appreciation of nature very rare amongst artists."[34] The work is unsentimental and effectively contrasts the mother in black and the daughter in white, with other colors kept restrained in the manner advised by his teacher Gleyre. It was displayed at the Royal Academy the following year, and in many exhibits to come.[33]
In a second painting executed in the same room, Whistler demonstrated his natural inclination toward innovation and novelty by fashioning a genre scene with unusual composition and foreshortening. It later was re-titled Harmony in Green and Rose: The Music Room.[35] This painting also demonstrated Whistler's ongoing work pattern, especially with portraits: a quick start, major adjustments, a period of neglect, then a final flurry to the finish.[34]
After a year in London, he produced a set of etchings in 1860 called Thames Set, as counterpoint to his 1858 French set, as well as some early impressionistic work including The Thames in Ice. At this stage, he was beginning to establish his technique of tonal harmony based on a limited, predetermined palette.[36]
Early career
In 1861, after returning to Paris for a time, Whistler painted his first famous work,
Whistler's painting was widely noticed, although upstaged by Manet's more shocking painting
Two years later, Whistler painted another portrait of Hiffernan in white, this time displaying his newfound interest in Asian motifs, which he entitled The Little White Girl. His Lady of the Land Lijsen and The Golden Screen, both completed in 1864, again portray his mistress, in even more emphatic Asian dress and surroundings.[40]
During this period Whistler became close to Gustave Courbet, the early leader of the French realist school, but when Hiffernan modeled in the nude for Courbet, Whistler became enraged and his relationship with Hiffernan began to fall apart.[41]
In January 1864, Whistler's very religious and very proper mother arrived in London, upsetting her son's bohemian existence and temporarily exacerbating family tensions. As he wrote to Henri Fantin-Latour, "General upheaval!! I had to empty my house and purify it from cellar to eaves." He also immediately moved Hiffernan to another location.[42]
From 1866, Whistler made his home in Chelsea, London, an area popular with artists, firstly in Cheyne Walk, then an ill-fated move to Tite Street, and finally Upper Church Street.[43]
Mature career
Nocturnes
In 1866, Whistler decided to visit
After he returned to London, he painted several more nocturnes over the next ten years, many of the River Thames and of Cremorne Gardens, a pleasure park famous for its frequent fireworks displays, which presented a novel challenge to paint. In his maritime nocturnes, Whistler used highly thinned paint as a ground with lightly flicked color to suggest ships, lights, and shore line.[44] Some of the Thames paintings also show compositional and thematic similarities with the Japanese prints of Hiroshige.[45]
In 1872, Whistler credited his patron Frederick Leyland, an amateur musician devoted to Chopin, for his musically inspired titles.
I say I can't thank you too much for the name 'Nocturne' as a title for my moonlights! You have no idea what an irritation it proves to the critics and consequent pleasure to me—besides it is really so charming and does so poetically say all that I want to say and no more than I wish![46]
At that point, Whistler painted another self-portrait and entitled it Arrangement in Gray: Portrait of the Painter
His good friend Fantin-Latour, growing more reactionary in his opinions, especially in his negativity concerning the emerging Impressionist school, found Whistler's new works surprising and confounding. Fantin-Latour admitted, "I don't understand anything there; it's bizarre how one changes. I don't recognize him anymore." Their relationship was nearly at an end by then, but they continued to share opinions in occasional correspondence.[49]
When Edgar Degas invited Whistler to exhibit with the first show by the Impressionists in 1874, Whistler turned down the invitation, as did Manet, and some scholars attributed this in part to Fantin-Latour's influence on both men.[50]
Portraits
The Franco-Prussian War of 1870 fragmented the French art community. Many artists took refuge in England, joining Whistler, including Camille Pissarro and Claude Monet, while Manet and Degas stayed in France. Like Whistler, Monet and Pissarro both focused their efforts on views of the city, and it is likely that Whistler was exposed to the evolution of Impressionism founded by these artists and that they had seen his nocturnes.[51] Whistler was drifting away from Courbet's "damned realism" and their friendship had wilted, as had his liaison with Joanna Hiffernan.[52]
Whistler's Mother
Personal relationships
Whistler had a distinctive appearance, short and slight, with piercing eyes and a curling mustache, often sporting a monocle and the flashy attire of a dandy.[124] He affected a posture of self-confidence and eccentricity. He often was arrogant and selfish toward friends and patrons. A constant self-promoter and egoist, he relished shocking friends and enemies. Though he could be droll and flippant about social and political matters, he always was serious about art and often invited public controversy and debate to argue for his strongly held theories.[3]
Whistler had a high-pitched, drawling voice and a unique manner of speech, full of calculated pauses. A friend said, "In a second you discover that he is not conversing—he is sketching in words, giving impressions in sound and sense to be interpreted by the hearer."[125]
Whistler was well known for his biting wit, especially in exchanges with his friend and rival Oscar Wilde. Both were figures in the Café society of Paris, and they were often the "talk of the town". They frequently appeared as caricatures in Punch, to their mutual amusement. On one occasion, young Oscar Wilde attended one of Whistler's dinners, and hearing his host make some brilliant remark, apparently said, "I wish I'd said that", to which Whistler riposted, "You will, Oscar, you will!" In fact, Wilde did repeat in public many witticisms created by Whistler.[96] Their relationship soured by the mid-1880s, as Whistler turned against Wilde and the Aesthetic Movement. When Wilde was publicly acknowledged to be a homosexual in 1895, Whistler openly mocked him.[citation needed]
Whistler reveled in preparing and managing his social gatherings. As a guest observed:
One met all the best in Society there—the people with brains, and those who had enough to appreciate them. Whistler was an inimitable host. He loved to be the Sun round whom we lesser lights revolved ... All came under his influence, and in consequence no one was bored, no one dull.[126]
In Paris, Whistler was friends with members of the Symbolist circle of artists, writers and poets that included Stéphane Mallarmé[127] and Marcel Schwob.[128] Schwob had met Whistler in the mid-1890s through Stéphane Mallarmé; they had other mutual friends, including Oscar Wilde (until they argued) and Whistler's brother-in-law, Charles Whibley.
Whistler was friendly with many French artists, including
Whistler's lover and model for The White Girl, Joanna Hiffernan, also posed for Gustave Courbet. Historians speculate that Courbet used her as the model for his erotic paintings Le Sommeil and L'Origine du monde, possibly leading to the breakup of the friendship between Whistler and Courbet.[131]
During the 1870s and much of the 1880s, he lived with his model and mistress Maud Franklin. Her ability to endure long, repetitive sittings helped Whistler develop his portrait skills.[126] He not only made several excellent portraits of her, but she was also a helpful stand-in for other sitters. Whistler had two daughters by Maud Franklin: Ione (born circa 1877) and Maud McNeill Whistler Franklin (born 1879).[132] Maud sometimes referred to herself as 'Mrs. Whistler',[133] and in the census of 1881 gave her name as 'Mary M. Whistler'.[134]
Whistler had several extramarital children, of whom Charles James Whistler Hanson (1870–1935) is the best documented.[135] After Whistler parted from his mistress Joanna Hiffernan, she helped to raise Hanson, even though his mother was the parlour maid, Louisa Fanny Hanson.[136][137]
In 1888, Whistler married Beatrice Godwin, whom he called Beatrix or Trixie. She was the widow of his friend E. W. Godwin, the architect who had designed Whistler's White House, and the daughter of the sculptor John Birnie Philip[138] and his wife Frances Black. Beatrix and her sisters Rosalind Birnie Philip[139] and Ethel Whibley posed for many of Whistler's paintings and drawings; with Ethel Whibley modeling for Mother of Pearl and Silver: The Andalusian (1888–1900).[137] The first five years of their marriage were very happy, but her later life was a time of misery for the couple, due to her illness and eventual death from cancer. Near the end, she lay comatose much of the time, completely subdued by morphine, given for pain relief. Her death was a heavy blow Whistler never quite overcame.[140]
Legacy
Whistler was inspired by and incorporated many sources in his art, including the work of
Whistler has been the subject of many major museum exhibitions, studies, and publications. Like the Impressionists, he employed nature as an artistic resource. Whistler insisted that it was the artist's obligation to interpret what he saw, not be a slave to reality, and to "bring forth from chaos glorious harmony".[71]
During his life, he influenced many artists throughout the English-speaking world. Whistler had significant contact and exchanged ideas and ideals with Realist, Impressionist, and Symbolist painters. The artist Walter Sickert was his pupil,[142] and the writer Oscar Wilde was his friend. His Tonalism had a profound effect on many American artists, including John Singer Sargent, William Merritt Chase, Henry Salem Hubbell, Willis Seaver Adams (whom he befriended in Venice) and Arthur Frank Mathews, whom Whistler met in Paris in the late 1890s and who took Whistler's Tonalism to San Francisco, spawning a broad use of that technique among turn-of-the-century California artists. Whistler was also a major influence on the 1880s Heidelberg School movement in Australia, otherwise known as Australian impressionism.[143] As American critic Charles Caffin wrote in 1907:
He did better than attract a few followers and imitators; he influenced the whole world of art. Consciously or unconsciously, his presence is felt in countless studios; his genius permeates modern artistic thought.[3]
During a fourteen-month stay in Venice in 1879 and 1880, Whistler created a series of etchings and pastels that not only reinvigorated his finances (this was after he had declared bankruptcy following the Ruskin trial), but also re-energized the way in which artists and photographers interpreted the city—focusing on the back alleys, side canals, entrance ways, and architectural patterns—and capturing the city's unique atmospherics.[93]
Honored on Issue of 1940
In 1940 Whistler was commemorated on a United States postage stamp when the U.S. Post Office issued a set of 35 stamps commemorating America's famous authors, poets, educators, scientists, composers, artists, and inventors: the Famous Americans Series.[citation needed]
The
Novelist Henry James "had become well enough acquainted with Whistler to base several fictional characters on the 'queer little Londonized Southerner,' most notably in Roderick Hudson and The Tragic Muse".[144] Whistler "also appeared as one of Henry James's most attractive minor characters, the sculptor Gloriani in The Ambassadors, whose personality, way of life, and even home are closely based on Whistler."[145]
George du Maurier's 1894 novel Trilby has a character, Joe Sibley, "the idle apprentice," who was meant to depict Whistler.[146][147] "Whistler threatened to sue, and in subsequent editions the character was replaced by another."[148] Whistler was also the model for a character in Marcel Proust's novel, In Search of Lost Time — the painter Elstir.[149][145]
Whistler was the favorite artist of singer and actress Doris Day. She owned and displayed an original etching of Whistler's Rotherhithe and two of his original lithographs, The Steps, Luxembourg Gardens, Paris and The Pantheon, from the Terrace of the Luxembourg Gardens.[150]
The Lowell, Massachusetts house in which Whistler was born is now preserved as the Whistler House Museum of Art. He is buried at St Nicholas Church, Chiswick.[citation needed]
Honors
Whistler achieved worldwide recognition during his lifetime:
- 1884: elected an honorary member of the Royal Academy of Fine Arts in Munich.
- 1892: made an officer of the Légion d'honneur in France.[151]
- 1898: became a charter member and first president, International Society of Sculptors, Painters and Gravers.
A statue of James McNeill Whistler by Nicholas Dimbleby was erected in 2005 at the north end of Battersea Bridge on the River Thames in the United Kingdom.[152]
Gallery
-
Rotherhithe
1860
etching on paper -
The Thames in Ice
1860
oil on canvas -
The Princess from the Land of Porcelain
1863–1865
oil on canvas -
Three Figures, Pink and Grey
1868–1878
oil on canvas -
Variations in Pink and Grey- Chelsea
1870–1871
oil on canvas -
Nocturne in Gray and Gold, Westminster Bridge
1874
oil on canvas -
Nocturne
1870–1877
oil on canvas -
The Gold Scab: Eruption in Frilthy Lucre
1879
oil on canvas -
Fishing Boat
1879–1880
etching on laid paper -
Nocturne in Pink and Gray, Portrait of Lady Meux
1881
oil on canvas -
Amsterdam Nocturne
1883–1884
watercolour on brown paper -
An Orange Note
1884
oil on wood -
Green and Silver- Beaulieu, Touraine
1888
watercolor on linen -
The Canal Amsterdam
1889
oil on wood -
The Bathing Posts, Brittany
1893
oil on wood -
Harmony in Blue and Gold - The Little Blue Girl
1894–1902
oil on canvas -
Blue and Coral The Little Blue Bonnet
1898
oil on canvas
Auction records
On October 27, 2010, Swann Galleries set a record price for a Whistler print at auction, when Nocturne, an etching and drypoint printed in black on warm, cream Japan paper, 1879–80 sold for $282,000.[153]
See also
Notes
- ^ Bridgers, Jeff (June 20, 2013). "Whistler's Butterfly" (webpage). Retrieved April 29, 2014.
- ^ "Image gallery of some of Whistler's well-known paintings and others by his contemporaries". Dia.org. Archived from the original on July 18, 2012. Retrieved July 15, 2013.
- ^ a b c Peters (1996), p. 4.
- ISBN 9780198614128. (Subscription or UK public library membershiprequired.)
- ^ Letter to Whistler from Anna Matilda Whistler, dated July 11, 1855. The Correspondence of James McNeill Whistler, Glasgow University Library, reference MS Whistler W458. Retrieved July 31, 2018.
- ^ Letter to Whistler from Anna Matilda Whistler, dated July 11, 1876. The Correspondence of James McNeill Whistler, Glasgow University Library, reference Whistler W552. Retrieved July 31, 2018.
- ^ a b "James Abbott McNeill Whistler – Questroyal". www.questroyalfineart.com.
- ^ a b New England Magazine (February 1904). "Whistler's Father". New England Magazine. 29. Boston, MA: America Company.
- ^ "Home". www.whistlerhouse.org.
- ^ a b c Peters (1996), p. 11.
- ^ Anderson & Koval (1995), p. 9.
- ^ Phaneuf, Wayne (May 10, 2011). "Springfield's 375th: From Puritans to presidents". masslive.com.
- ^ "Springfield Museums". Archived from the original on May 3, 2015. Retrieved May 1, 2015.
- ^ Anderson & Koval (1995), p. 11.
- ISBN 0-517-05773-5
- ^ Anderson & Koval (1995), p. 20.
- ^ Anderson & Koval (1995), p. 18-20.
- ^ Kunitz, Stanley (1938). American Authors, 1600-1900: A Biographical Dictionary of American Literature. New York: H.W. Wilson. p. 802.
- ^ Anderson & Koval (1995), p. 23.
- ^ a b c d e Peters (1996), p. 12.
- ^ Anderson & Koval (1995), p. 24.
- ^ Anderson & Koval (1995), pp. 26–27.
- ISSN 0040-781X. Retrieved June 9, 2016.
- ^ "Blackwell, Jon, A Salute to West Point". Usma.edu. Archived from the original on January 14, 2009. Retrieved July 15, 2013.
- ^ Anderson & Koval (1995), p. 35.
- ^ Anderson & Koval (1995), p. 36.
- ^ Anderson & Koval (1995), p. 38.
- ^ Anderson & Koval (1995), p. 47.
- ^ Anderson & Koval (1995), p. 50.
- ^ Anderson & Koval (1995), p. 52.
- ^ Anderson & Koval (1995), p. 60.
- ^ Anderson & Koval (1995), p. 48.
- ^ a b Peters (1996), p. 13.
- ^ a b Anderson & Koval (1995), p. 90.
- ^ Peters (1996), p. 14.
- ^ Peters (1996), p. 15.
- ^ Anderson & Koval (1995), p. 106, 119.
- ^ "Explanation of Whistler's purpose in making the painting Symphony in White". Dia.org. Archived from the original on September 5, 2013. Retrieved July 15, 2013.
- ^ Peters (1996), p. 17.
- ^ Peters (1996), p. 18, 24.
- ^ Peters (1996), p. 19.
- ^ a b Anderson & Koval (1995), p. 141.
- ^ "Settlement and building: Artists and Chelsea Pages 102–106 A History of the County of Middlesex: Volume 12, Chelsea". British History Online. Victoria County History, 2004. Retrieved December 21, 2022.
- ^ Peters (1996), p. 30.
- ^ Anderson & Koval (1995), p. 187.
- ^ a b Anderson & Koval (1995), p. 186.
- ^ "Detroit Institute of Arts webpage image and description of painting". Dia.org. Archived from the original on February 19, 2008. Retrieved July 15, 2013.
- ^ a b Anderson & Koval (1995), p. 191.
- ^ Anderson & Koval (1995), p. 192.
- ^ Anderson & Koval (1995), p. 194.
- ^ Anderson & Koval (1995), p. 179.
- ^ Anderson and Koval, p. 141, plate 7.
- ^ a b Anderson & Koval (1995), p. 180.
- ^ Peters (1996), p. 34.
- ^ a b Anderson & Koval (1995), p. 183.
- ISBN 0-85331-856-5
- ^ Margaret F. MacDonald, p. 125.
- ^ Margaret F. MacDonald, p. 80.
- ^ Johnson, Steve (March 3, 2017). "She's ba-aack: 'Whistler's Mother,' a more exciting painting than you might think, returns to Art Institute". chicagotribune.com.
- ^ MacDonald, p. 121.
- ^ Peters (1996), p. 36, 43.
- ^ Anderson & Koval (1995), p. 197.
- ^ Anderson & Koval (1995), p. 275.
- ^ Anderson & Koval (1995), p. 199.
- ISBN 1-85170-904-5
- ^ Wedmore 1911, p. 596.
- ^ "The Doorway". www.metmuseum.org. Retrieved January 25, 2020.
- ^ Anderson & Koval (1995), p. 311.
- ^ Hardie (1921), p. 18.
- ^ Hardie (1921), pp. 19–20.
- ^ a b c d Peters (1996), p. 7.
- ^ "A Closer Look – James McNeill Whistler – Peacock Room". Asia.si.edu. Archived from the original on December 16, 2013. Retrieved July 22, 2013.
- ^ Peters (1996), p. 37.
- ^ "Freer Gallery, The Peacock Room". Retrieved October 6, 2022.
- ^ "FRAME|WORK: The Gold Scab: Eruption in Frilthy Lucre (The Creditor) by James McNeill Whistler". Deyoung.famsf.org. May 30, 2012. Archived from the original on April 29, 2014. Retrieved July 15, 2013.
- ^ Anderson & Koval (1995), p. 215.
- ^ Anderson & Koval (1995), p. 216.
- ^ Anderson & Koval (1995), p. 217.
- ^ Whistler, 2–5; The Times (London, England), Tuesday, November 26, 26, 1878; p. 9.
- ^ Petra ten-Doesschate Chu, Nineteenth-Century European Art, p. 349.
- ^ Peters, pp. 51–52.
- ^ "See The Correspondence of James McNeill Whistler". Whistler.arts.gla.ac.uk. October 14, 2003. Archived from the original on March 6, 2008. Retrieved July 15, 2013.
- ^ Peter Stansky's review of Linda Merrill's A Pot of Paint: Aesthetics on Trial in Whistler v. Ruskin in the Journal of Interdisciplinary History, Vol. 24, No. 3 (Winter, 1994), pgs. 536–7 [1]
- ISBN 9780486218755. Retrieved July 22, 2013.
- ^ Anderson & Koval (1995), p. 227.
- ^ Anderson & Koval (1995), p. 210.
- ^ "National Gallery of Art webpage describing Mother of pearl and silver: The Andalusian". Nga.gov.au. Retrieved July 22, 2013.
- ^ "Library of Congress". 1908 – via Library of Congress.
- ^ a b Anderson & Koval (1995), p. 228.
- ^ Anderson & Koval (1995), p. 230.
- ^ Anderson & Koval (1995), p. 232.
- ^ Anderson & Koval (1995), pp. 233–234.
- ^ a b Peters (1996), p. 54.
- ^ a b Peters (1996), p. 55.
- ^ Anderson & Koval (1995), p. 242.
- ^ a b c Peters (1996), p. 57.
- ^ Anderson & Koval (1995), p. 256.
- ^ Anderson & Koval (1995), p. 270.
- ^ Anderson & Koval (1995), p. 271.
- ISBN 9780804151122.
- ^ Sutherland (2014), p. 241.
- ^ Anderson & Koval (1995), p. 314.
- ISBN 0-89468-212-1
- ^ Anderson & Koval (1995), p. 273.
- ^ ""Harmony in Red: Lamplight" (1884–1886)". The Hunterian Museum and Art Gallery, University of Glasgow. Archived from the original on July 4, 2015. Retrieved June 30, 2015.
- ^ Weintraub (1974), p. 323.
- ^ a b c d Weintraub (1974), pp. 327–328.
- ^ Weintraub (1974), pp. 308–373.
- ^ Peters (1996), p. 60.
- ^ Anderson & Koval (1995), p. 321.
- ^ Anderson & Koval (1995), p. 324.
- ^ Sutherland (2014), p. 247.
- ^ Anderson & Koval (1995), p. 342.
- ^ Weintraub (1974), pp. 374–384.
- ^ Anderson & Koval (1995), p. 357.
- ^ "Turner, Whistler, Monet: Thames Views" Archived March 5, 2005, at the Wayback Machine. The Tate Museum, London, 2005, accessed December 3, 2010.
- ^ Peters (1996), p. 62-63.
- ^ "The Correspondence of James McNeill Whistler". www.whistler.arts.gla.ac.uk.
- ^ Peters (1996), p. 63.
- ^ Anderson & Koval (1995), p. 457.
- ^ London Cemeteries: An Illustrated Guide and Gazetteer, by Hugh Meller and Brian Parsons.
- ^ Anderson and Koval, plate 44.
- ^ Anderson and Koval, plate 46.
- ^ Anderson & Koval (1995), p. 240.
- ^ Anderson & Koval (1995), p. 204.
- ^ a b Anderson & Koval (1995), p. 203.
- ^ Letter from James McNeill Whistler to Beatrix Whistler, March 3, 1895, University of Glasgow, Special Collections, reference: GB 0247 MS Whistler W620.
- ^ "University of Glasgow, Special Collections". Whistler.arts.gla.ac.uk. Retrieved July 15, 2013.
- ^ Anderson & Koval (1995), p. 289.
- ^ Pennell & Pennell (1911), p. 43.
- ^ Sutherland (2014), pp. 99–100.
- ^ Spencer, p. 88.
- ^ Weintraub (1974), pp. 166 & 322.
- ^ "Biography – Maud Franklin, 1857–1941". The Correspondence of James McNeill Whistler. University of Glasgow. Retrieved July 25, 2023.
- ^ Anderson and Koval, plate 40.
- ^ Patricia de Montfort, "White Muslin: Joanna Hiffernan and the 1860s," in Whistler, Women, and Fashion (Frick Collection, New York, in association with Yale University Press, New Haven, 2003), p. 79.
- ^ a b "Biography of Ethel Whibley (1861–1920) University of Glasgow, Special Collections". Whistler.arts.gla.ac.uk. May 21, 1920. Retrieved July 15, 2013.
- ^ "The Correspondence of James McNeill Whistler :: Biography". Whistler.arts.gla.ac.uk. February 20, 2003. Retrieved July 15, 2013.
- ^ "Biography of Rosalind Birnie Philip, (1873–1958) University of Glasgow, Special Collections". Whistler.arts.gla.ac.uk.
- ^ Anderson and Koval, plate 45.
- ^ Anderson & Koval (1995), p. 106.
- ^ Sickert worked hard with Whistler on his "Ten O'Clock" lecture. Sturgis, Matthew, Walter Sickert: A Life, Harper Perennial, 2005, p. 118.
- ^ Heidelberg School, emelbourne.net.au. Retrieved 2 February 2024.
- ^ Sutherland (2014), p. 268.
- ^ a b Dorment and MacDonald, Whistler, p. 22.
- ^ Bonhams
- ^ "James McNeill Whistler: The Etchings A Catalogue Raisonné, University of Glasgow
- ^ Golding, John, "Supreme Outsider," The New York Review, May 25, 1995
- ^ Dorment, Richard, "Venice Out of Season," The New York Review of Books, October 24, 1991.
- ^ "Doris Day's Estate at Auction". Barnebys.com. April 1, 2020. Retrieved April 7, 2020.
- ^ "Léonore database". Culture.gouv.fr. Retrieved July 15, 2013.
- ^ Cookson 2006, p. 122.
- ^ "Nocturne: Our Most Expensive Print". Swann Galleries. October 29, 2010. Retrieved August 16, 2019.
References
- Anderson, Ronald; Koval, Anne (1995). James McNeill Whistler: Beyond the Myth. New York, NY.: Carroll & Graf. OCLC 613244627.
- Wedmore, Frederick (1911). . In Chisholm, Hugh (ed.). Encyclopædia Britannica. Vol. 28 (11th ed.). Cambridge University Press. pp. 596–597.
- Cookson, Brian (2006), Crossing the River, Edinburgh: Mainstream, OCLC 63400905
- Hardie, Martin (1921). The British School of Etching. London: The Print Collectors Club.
- Pennell, Joseph; Pennell, Elizabeth Robins (1911). The Life of James McNeill Whistler (5th ed.). London: William Heinemann.
- Peters, Lisa N. (1996). James McNeill Whistler. New York, NY: Smithmark. ISBN 1-880908-70-0.
- Snodin, Michael and John Styles. Design & The Decorative Arts, Britain 1500–1900. V&A Publications: 2001. ISBN 1-85177-338-X
- Spencer, Robin (1994). Whistler. London: Studio Editions. ISBN 1-85170-904-5
- Sutherland, Daniel E. (2014). Whistler: A Life for Art's Sake. Yale University Press. ISBN 978-0-300-13545-9.
- Weintraub, Stanley (1974). Whistler: A Biography. New York, NY: Weybright and Talley. ISBN 0-679-40099-0.
Primary sources
- "George A. Lucas Papers". The Baltimore Museum of Art. Archived from the original on April 19, 2015.
- Thorp, Nigel, ed. Whistler on Art: Selected Letters and Writings of James McNeill Whistler. Manchester: Carcanet Press; Washington, D.C.: Smithsonian Institution Press, 1994. Includes "Ten O'Clock", pp. 79–95, and extracts from press reviews of it, pp. 95–102.
- Whistler, James Abbott McNeill, The Gentle Art of Making Enemies 3rd ed., G. P. Putnam's Sons, New York, 1904 [1890].
- Wilde, Oscar (February 21, 1885). "Mr Whistler’s Ten O’Clock"
Further reading
- Bendix, Deanna Marohn (1995). Diabolical Designs: Paintings, Interiors, and Exhibitions of James McNeill Whistler. Washington D.C.: The Smithsonian Institution Press. ISBN 1-56098-415-5.
- Berman, Avis (1993). James McNeill Whistler: First Impressions. New York: Harry N. Abrams, Inc. ISBN 0-8109-3968-1.
- Corbacho, Henri-Pierre (2018). A Short Biography of James Abbott McNeill Whistler. Carlisle, Massachusetts: Benna Books. ISBN 978-1-944038-43-4.
- Cox, Devon (2015). The Street of Wonderful Possibilities: Whistler, Wilde & Sargent in Tite Street. London: Frances Lincoln. ISBN 9780711236738.
- Curry, David Park (1984). James McNeill Whistler at the Freer Gallery of Art. New York: W. W. Norton and Freer Gallery of Art. ISBN 9780393018479.
- Denker, Eric (2003). Whistler and His Circle in Venice. London: Merrell Publishers. ISBN 1-85894-200-4.
- ISBN 1-85437-145-2. With contributions by Nicolai Cikovsky Jr., Ruth Fine, Geneviève Lacambre.
- ISBN 0-900075-61-9..
- Fleming, Gordon H. (1978). The Young Whistler, 1834–66. London: Allen and Unwin. ISBN 0-04-927009-5..
- Glazer, Lee, et al. (2008). James McNeill Whistler in Context. Washington D.C.: Smithsonian Institution. ISBN 978-0-934686-09-9.
- Glazer, Lee and Merrill, Linda, eds. (2013). Palaces of Art: Whistler and the Art Worlds of Aestheticism. Washington, D.C.: Smithsonian Institution Scholarly Press. ISBN 978-1-935623-29-8.
- Gregory, Horace (1961). The World of James McNeill Whistler. London: Hutchinson. ISBN 0-04-927009-5.
- Grieve, Alastair (1984). Whistler's Venice. Yale University Press. ISBN 0-300-08449-8.
- Heijbroek, J. E. and MacDonald, Margaret F. (1997). Whistler and Holland. Rijksmuseum Amsterdam. ISBN 90-400-9183-8.
- Honour, Hugh, and Fleming, John (1991). The Venetian Hours of Henry James, Whistler, and Sargent. Bulfinch Press/Little Brown.
- Levy, Mervyn, ed. (1975). Whistler Lithographs: An Illustrated Catalogue Raisonné. London: Jupiter Books.
- Lochnan, Katherine A.(1984). The Etchings of James McNeill Whistler. Yale University Press. ISBN 0-300-03283-8.
- MacDonald Margaret F. (2001). Palaces in the Night: Whistler and Venice. University of California Press. ISBN 0-520-23049-3.
- MacDonald, Margaret F., ed. (2003). Whistler's Mother: An American Icon. Aldershot: Lund Humphries. ISBN 0-85331-856-5.
- MacDonald, Margaret F., Galassi, Susan Grace and Ribeiro, Aileen (2003). Whistler, Women, & Fashion. Frick Collection/Yale University. ISBN 0-300-09906-1.
- MacDonald, Margaret F., and de Montfort, Patricia (2013). An American in London: Whistler and the Thames. London: Philip Wilson Publishers. ISBN 978-1-78130-022-0.
- MacDonald, Margaret F., et al. (2020). The Woman in White: Joanna Hiffernan and James McNeill Whistler. Washington, D.C.: National Gallery of Art and London: Royal Academy of Arts/ Yale University Press. ISBN 978-0-300-25450-1.
- McCann, Justin, ed. (2015). Whistler and the World: The Lunder Collection of James McNeill Whistler. Waterville, Maine: Colby College Museum of Art. ISBN 978-0972848411.
- Merrill, Linda (1992). A Pot of Paint: Aesthetics on Trial in Whistler v. Ruskin. Washington, D.C.: Smithsonian Institution Press. ISBN 1-56098-300-0.
- Merrill, Linda (1998). The Peacock Room: A Cultural Biography. Washington, D.C.: Freer Gallery of Art / Yale University Press. ISBN 0-300-07611-8.
- Merrill, Linda, and Ridley, Sarah (1993) The Princess and the Peacocks or, The Story of the [Peacock] Room. New York: Hyperion Books for Children, in association with the Freer Gallery of Art. ISBN 1-56282-327-2.
- Merrill, Linda, et al. (2003) After Whistler: The Artist and His Influence on American Painting. Yale University Press. ISBN 0-300-10125-2.
- ISBN 2-08013-578-3.
- Murphy, Paul Thomas (2023). Falling Rocket: James Whistler, John Ruskin, and the Battle for Modern Art. New York: Pegasus Books, Ltd. ISBN 978-1-63936-491-6.
- ISBN 0-354-04224-6.
- Petri, Grischka (2011). Arrangement in Business: The Art Markets and the Career of James McNeill Whistler. Hildesheim: G. Olms. ISBN 978-3-487-14630-0.
- ISBN 978-0-300-13545-9.
- Spaulding, Frances (2nd ed. 1994 [1979]). Whistler. London and New York: Phaidon Press.
- Spencer, Robin (1991). Whistler: A Retrospective. New York: Wing Books. ISBN 0-517-05773-5.
- Stubbs, Burns A. (1950). James McNeill Whistler: A Biographical Outline Illustrated from the Collections of the Freer Gallery of Art. Washington, D.C.: Smithsonian Institution Press.
- ISBN 978-0300229684.
- Sutton, Denys (1966). James McNeil Whistler: Paintings, Etchings, Pastels & Watercolours. London: Phaidon Press.
- Thompson, Jennifer A. (2017). "Purple and Rose: The Lange Leizen of the Six Marks by James Abbott McNeill Whistler (cat. 1112)[ISBN 978-0-87633-276-4.
- Twohig, Edward (2018). Print REbels: Haden, Palmer, Whistler and the Origins of the RE (Royal Society of Painter-Printmakers). London: Royal Society of Painter-Printmakers. ISBN 978-1-5272-1775-1.
- Taylor, Hilary (1978). James McNeill Whistler. London: Studio Vista. ISBN 0-289-70836-2.
- Walden, Sarah (2003). Whistler and His Mother: An Unexpected Relationship: Secrets of an American Masterpiece. London: Gibson Square; Lincoln, Nebraska: University of Nebraska Press. ISBN 1903933285.
- Walker, John (1987). James McNeill Whistler. New York: Harry N. Abrams, Inc. in association with ISBN 978-0810917866.
- Young, Andrew McLaren; MacDonald, Margaret; Spencer, Robin; with the assistance of Hamish Miles (1980). The Paintings of James McNeill Whistler. Yale University Press. ISBN 0-300-02384-7.
External links
- 111 artworks by or after James McNeill Whistler at the Art UK site
- Works by James McNeill Whistler at Project Gutenberg
- Works by or about James McNeill Whistler at Internet Archive
- Works by James McNeill Whistler at Open Library
- The Correspondence of James McNeill Whistler, Glasgow University Edited by M.F. MacDonald, P.de Montfort, N. Thorp.
- Catalogue raisonné of the etchings of James McNeill Whistler Archived April 9, 2021, at the Wayback Machine by M.F. MacDonald, G. Petri, M. Hausberg, J. Meacock.
- James McNeill Whistler: The Paintings, a Catalogue Raisonné, University of Glasgow, 2014 by M.F. MacDonald, G. Petri.
- James McNeill Whistler exhibition catalogs
- The Freer Gallery of Art which houses the premier collection of Whistler works including the Peacock Room.
- An account of the Whistler/Ruskin affair
- Whistler House Museum of Art official web site
- Works by James Abbott McNeill Whistler at University of Michigan Museum of Art
- Rudolf Wunderlich Collection of James McNeill Whistler Exhibition Catalogs at the Smithsonian's Archives of American Art Texts on Wikisource:
- "Florence Earle Coates
- "Whistler, James Abbott McNeill". The New Student's Reference Work. 1914.
- "Whistler, James Abbott McNeill". Encyclopædia Britannica (11th ed.). 1911.
- "
- The Whistler Society, London. Founded 2012.
- Jennifer A. Thompson, "Purple and Rose: The Lange Leizen of the Six Marks by James Abbott McNeill Whistler (cat. 1112)"[permanent dead link] in The John G. Johnson Collection: A History and Selected Works[permanent dead link], a Philadelphia Museum of Art free digital publication.
- Whistler's Woman in White: Joanna Hiffernan, Royal Academy of Arts, London, 26 February – 22 May 2022
- The Woman in White: Joanna Hiffernan and James McNeill Whistler, National Gallery of Art, East Building Mezzanine, July 3 – October 10, 2022
- Whistler: Streetscapes, Urban Change at Colby College Museum of Art, June 3–October 22, 2023.
- Whistler: Streetscapes, Urban Change at Freer Gallery of Art, November 18, 2023 – May 4, 2024.