James McNeill Whistler

6253: 2612: 2540: 1779:, Whistler presented to the Queen, on the Society's behalf, an elaborate album including a lengthy written address and illustrations that he made. Queen Victoria so admired "the beautiful and artistic illumination" that she decreed henceforth, "that the Society should be called Royal." This achievement was widely appreciated by the members, but soon it was overshadowed by the dispute that inevitably arose with the Royal Academy of Arts. Whistler proposed that members of the Royal Society should withdraw from the Royal Academy. This ignited a feud within the membership ranks that overshadowed all other society business. In May 1888, nine members wrote to Whistler to demand his resignation. At the annual meeting on June 4, he was defeated for re-election by a vote of 18–19, with nine abstentions. Whistler and 25 supporters resigned, while the anti-Whistler majority (in his view) was successful in purging him for his "eccentricities" and "non-English" background. 2502: 2702: 2466: 2558: 2630: 2756: 2003: 2738: 2520: 2484: 1829: 713: 1207: 2774: 1353: 2213: 1934:(YMSM 547) in March 1902. According to Alexander Gardiner, Canfield returned to Europe to sit for Whistler at the New Year in 1903, and sat every day until May 16, 1903. Whistler was ill and frail at this time and the work was his last completed portrait. The deceptive air of respectability that the portrait gave Canfield caused Whistler to call it 'His Reverence'. The two men were in correspondence from 1901 until Whistler's death. A few months before his own death, Canfield sold his collection of etchings, lithographs, drawings and paintings by Whistler to the American art dealer Roland F. Knoedler for $ 300,000. Three of Canfield's Whistler paintings hang in the 539: 2666: 1169: 1242:

whole blending perfectly with the greyish-brown of the prepared canvas; then the entire background would be intensified a little; then the figure made a little stronger; then the background, and so on from day to day and week to week, and often from month to month. ... And so the portrait would really grow, really develop as an entirety, very much as a negative under the action of the chemicals comes out gradually—light, shadows, and all from the very first faint indications to their full values. It was as if the portrait were hidden within the canvas and the master by passing his wands day after day over the surface evoked the image.

2594: 726: 2648: 2576: 1643: 2684: 1577: 2720: 1755: 1084: 857: 2297: 2057:, 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. 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. 44: 1040: 1008: 1293: 2021: 877:, a journey that has puzzled scholars, although Whistler stated that he did it for political reasons. Chile was at war with Spain and perhaps Whistler thought it a heroic struggle of a small nation against a larger one, but no evidence supports that theory. What the journey did produce was Whistler's first three nocturnal paintings (which he originally termed "moonlights"): night scenes of the harbor painted with a blue or light green palette. 1992: 6331: 1725:". At the time, the opposing Victorian notion reigned, namely, that art, and indeed much human activity, had a moral or social function. To Whistler, however, art was its own end and the artist's responsibility was not to society, but to himself, to interpret through art, and to neither reproduce nor moralize what he saw. Furthermore, he stated, "Nature is very rarely right", and must be improved upon by the artist, with his own vision. 960:, 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. 1696:

annoyances delays & vexations of spirit." The three-month assignment stretched to fourteen months. During this exceptionally productive period, Whistler finished over fifty etchings, several nocturnes, some watercolors, and over 100 pastels—illustrating both the moods of Venice and its fine architectural details. Furthermore, Whistler influenced the American art community in Venice, especially

1076:. Whistler did his part in promoting the picture and popularizing the image. He frequently exhibited it and authorized the early reproductions that made their way into thousands of homes. The painting narrowly escaped being burned in a fire aboard a train during shipping. It was ultimately purchased by the French government, the first Whistler work in a public collection, and is now housed in the 1048:

face, dress, and chair. Whistler commented that the painting's narrative was of little importance, yet the painting was also paying homage to his pious mother. After the initial shock of her moving in with her son, she aided him considerably by stabilizing his behavior somewhat, tending to his domestic needs, and providing an aura of conservative respectability that helped win over patrons.

1630:(1890), in December 1878, soon after the trial. Whistler's grand hope that the publicity of the trial would rescue his career was dashed as he lost rather than gained popularity among patrons because of it. Among his creditors was Leyland, who oversaw the sale of Whistler's possessions. Whistler made various caricatures of his former patron, including a biting satirical painting called 1252: 403: 2204:(1888–1900). 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. 1708:

from the younger generation of English and American painters who made him their idol and eagerly adopted the title "pupil of Whistler". Many of them returned to America and spread tales of Whistler's provocative egotism, sharp wit, and aesthetic pronouncements—establishing the legend of Whistler, much to his satisfaction.

1036:. A model failed to appear one day, according to a letter from his mother, so Whistler turned to his mother and suggested that he do her portrait. He had her stand at first, in his typically slow and experimental way, but that proved too tiring so the seated pose was adopted. It took dozens of sittings to complete. 1688:, taking rooms in a dilapidated palazzo they shared with other artists, including John Singer Sargent. Although homesick for London, he adapted to Venice and set about discovering its character. He did his best to distract himself from the gloom of his financial affairs and the pending sale of all his goods at 1973: 791:. Countering criticism by traditionalists, Whistler's supporters insisted that the painting was "an apparition with a spiritual content" and that it epitomized his theory that art should be concerned essentially with the arrangement of colors in harmony, not with a literal portrayal of the natural world. 2335:

movement, and the lead character of Reginald Bunthorne is often identified as a send-up of Oscar Wilde, though Bunthorne is more likely an amalgam of several prominent artists, writers, and Aesthetic figures. Bunthorne wears a monocle and has prominent white streaks in his dark hair, as did Whistler.

2170:

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. He not only made several excellent portraits of her, but she was also a helpful stand-in for other sitters. Whistler

1941:

In the final seven years of his life, Whistler did some minimalist seascapes in watercolor and a final self-portrait in oil. He corresponded with his many friends and colleagues. Whistler founded an art school in 1898, but his poor health and infrequent appearances led to its closure in 1901. He died

1335:

of his initials. Over time this evolved into the shape of an abstract butterfly. By around 1880, he added a stinger to the butterfly image to create a mark representing both his gentle, sensitive nature and his provocative, feisty spirit. He took great care in the appropriate placement of the image

1067:

sparked varying reactions, including parody, ridicule, and reverence, which have continued to today. Some saw it as "the dignified feeling of old ladyhood", "a grave sentiment of mourning", or a "perfect symbol of motherhood"; others employed it as a fitting vehicle for mockery. It has been satirized

1047:

The austere portrait in his normally constrained palette is another Whistler exercise in tonal harmony and composition. The deceptively simple design is in fact a balancing act of differing shapes, particularly the rectangles of curtain, picture on the wall, and floor which stabilize the curve of her

765:

manner. In the painting, Hiffernan holds a lily in her left hand and stands upon a wolf skin rug (interpreted by some to represent masculinity and lust) with the wolf's head staring menacingly at the viewer. The portrait was refused for exhibition at the conservative Royal Academy, but was shown in a

2292:

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

1707:

Back in London, the pastels sold particularly well, and he quipped, "They are not as good as I supposed. They are selling!" He was actively engaged in exhibiting his other work but with limited success. Though still struggling financially, he was heartened by the attention and admiration he received

1314:

wrote "there are some who set him beside Rembrandt, perhaps above Rembrandt, as the greatest master of all time. Personally, I prefer to regard them as the Jupiter and Venus, largest and brightest among the planets in the etcher's heaven." He took great care over the printing of his etchings and the

892:

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. Some of the Thames paintings also show compositional and thematic similarities with the Japanese prints

467:

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,

676:

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, " a recklessly bold manner and sketchiness of the wildest and roughest kind, a genuine feeling for colour and a splendid power of composition and

1695:

His new friends reported, on the contrary, that Whistler rose early and put in a full day of effort. He wrote to a friend, "I have learned to know a Venice in Venice that the others never seem to have perceived, and which, if I bring back with me as I propose, will far more than compensate for all

1202:

in 1874. The show was notable and noticed, however, for Whistler's design and decoration of the hall, which harmonized well with the paintings, in keeping with his art theories. A reviewer wrote, "The visitor is struck, on entering the gallery, with a curious sense of harmony and fitness pervading

1158:

have all achieved something that most paintings—regardless of their art historical importance, beauty, or monetary value—have not: they communicate a specific meaning almost immediately to almost every viewer. These few works have successfully made the transition from the elite realm of the museum

590:

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

2242:

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

1593:

Whistler had counted on many artists to take his side as witnesses, but they refused, fearing damage to their reputations. The other witnesses for him were unconvincing and the jury's own reaction to the work was derisive. With Ruskin's witnesses more impressive, including Edward Burne-Jones, and

1241:

He worked with great rapidity and long hours, but he used his colours thin and covered the canvas with innumerable coats of paint. The colours increased in depth and intensity as the work progressed. At first the entire figure was painted in greyish-brown tones, with very little flesh colour, the

526:

mapping the entire U.S. coast for military and maritime purposes. He found the work boring and he was frequently late or absent. He spent much of his free time playing billiards and idling about, was always broke, and although a charmer, had little acquaintance with women. After it was discovered

1388:

Whistler let his imagination run wild, however: "Well, you know, I just painted on. I went on—without design or sketch—putting in every touch with such freedom ... And the harmony in blue and gold developing, you know, I forgot everything in my joy of it." He completely painted over 16th-century

1106:. It was accepted as a universal icon of motherhood by the worldwide public, which was not particularly aware of or concerned with Whistler's aesthetic theories. In recognition of its status and popularity, the United States issued a postage stamp in 1934 featuring an adaptation of the painting. 557:

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

1228:

complained of his sitting for a portrait by Whistler, "He proved to be a veritable tyrant, painting every day into the twilight, while my limbs ached with weariness and my head swam dizzily. 'Don't move! Don't move!' he would scream whenever I started to rest." By the time he gained widespread

284:

His signature for his paintings took the shape of a stylized butterfly with an added long stinger for a tail. The symbol combined both aspects of his personality: his art is marked by a subtle delicacy, while his public persona was combative. He found a parallel between painting and music, and

455:

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." In his blossoming enthusiasm for art, at fifteen, he informed his father by letter of his future

2035:

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. He affected a posture of self-confidence and eccentricity. He often was arrogant and selfish toward friends and patrons. A constant

489:

and poor health history. However, during his three years there, his grades were barely satisfactory, and he was a sorry sight at drill and dress, known as "Curly" for his hair length which exceeded regulations. Whistler bucked authority, spouted sarcastic comments, and racked up

2064:

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

1663:

It is always a delight to remember that actually once Mr. Whistler was really shy! Those who had the pleasure of hearing his first Ten O'Clock must remember that when he came before his rather puzzled and distinguished audience, there were a few minutes of very palpable stage

1511:, which was served to Ruskin. Whistler hoped to recover £1,000 plus the costs of the action. The case came to trial the following year after delays caused by Ruskin's bouts of mental illness, while Whistler's financial condition continued to deteriorate. It was heard in the 2174:

Whistler had several extramarital children, of whom Charles James Whistler Hanson (1870–1935) is the best documented. After Whistler parted from his mistress Joanna Hiffernan, she helped to raise Hanson, even though his mother was the parlour maid, Louisa Fanny Hanson.

1273:. His lithographs, some drawn on stone, others drawn directly on "lithographie" paper, are perhaps half as numerous as his etchings. Some of the lithographs are of figures slightly draped; two or three of the very finest are of Thames subjects—including a "nocturne" at 1919:, who became a personal friend and patron of Whistler's. Canfield owned a number of fashionable gambling houses in New York and Rhode Island, including Saratoga Springs and Newport, and was also a man of culture with refined tastes in art. He owned early American and 2039:

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."

1736:

not merely for its clever satire and amusing jests ... but for the pure and perfect beauty of many of its passages ... for that he is indeed one of the very greatest masters of painting, in my opinion. And I may add that in this opinion Mr. Whistler himself entirely

1336:

on both his paintings and his custom-made frames. His focus on the importance of balance and harmony extended beyond the frame to the placement of his paintings to their settings, and further to the design of an entire architectural element, as in the Peacock Room.

912:

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

2036:

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.

1051:

The public reacted negatively to the painting, mostly because of its anti-Victorian simplicity during a time in England when sentimentality and flamboyant decoration were in vogue. Critics thought the painting a failed "experiment" rather than a work of art. The

2611: 677:

design, which evince a just appreciation of nature very rare amongst artists." 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

585:

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. To relieve the situation, he took to painting and selling copies from works at the

1486:

ought not to have admitted works into the gallery in which the ill-educated conceit of the artist so nearly approached the aspect of willful imposture. I have seen, and heard, much of Cockney impudence before now; but never expected to hear a

2235:, and ancient Greek sculpture to develop his own highly influential and individual style. He was adept in many media, with over 500 paintings, as well as etchings, pastels, watercolors, drawings, and lithographs. Whistler was a leader in the 1809:

to marry the couple. No publicity was given to the ceremony to avoid the possibility of a furious Maud Franklin interrupting the marriage ceremony. The marriage took place on August 11, 1888, with the ceremony attended by a reporter from the

498:

was the West Point Superintendent and, after considerable indulgence toward Whistler, he had no choice but to dismiss the young cadet. Whistler's major accomplishment at West Point was learning drawing and map making from American artist

2279:, 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 1692:. He was a regular guest at parties at the American consulate, and with his usual wit, enchanted the guests with verbal flourishes such as "the artist's only positive virtue is idleness—and there are so few who are gifted at it." 2373:

has a character, Joe Sibley, "the idle apprentice," who was meant to depict Whistler. "Whistler threatened to sue, and in subsequent editions the character was replaced by another." Whistler was also the model for a character in

2313:

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

370:

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.

1195:(critic, 1884). In the 1870s, Whistler painted full-length portraits of his benefactor Frederick Leyland and his wife Frances. Leyland subsequently commissioned the artist to decorate his dining room (see Peacock Room below). 2171:

had two daughters by Maud Franklin: Ione (born circa 1877) and Maud McNeill Whistler Franklin (born 1879). Maud sometimes referred to herself as 'Mrs. Whistler', and in the census of 1881 gave her name as 'Mary M. Whistler'.

2239:, promoting, writing, and lecturing on the "art for art's sake" philosophy. With his pupils, he advocated simple design, economy of means, the avoidance of over-labored technique, and the tonal harmony of the final result. 648:, 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. 945:", to emphasize the tonal qualities and the composition and to de-emphasize the narrative content. Whistler's nocturnes were among his most innovative works. Furthermore, his submission of several nocturnes to art dealer 1908:, as well as Stéphane Mallarmé, and he set himself up a large studio. He was at the top of his career when it was discovered that his wife Trixie had cancer. They returned to London in February 1896, taking rooms at the 684:

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

1380:

Frederick Leyland left the room in Whistler's care to make minor changes, "to harmonize" the room whose primary purpose was to display Leyland's china collection. He painted over the original paneled room designed by

4514: 2539: 2501: 2246:

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

570:, and quickly adopted the life of a bohemian artist. Soon he had a French girlfriend, a dressmaker named Héloise. He studied traditional art methods for a short time at the Ecole Impériale and at the atelier of 578:, and impressed Whistler with two principles that he used for the rest of his career: that line is more important than color and that black is the fundamental color of tonal harmony. Twenty years later, the 2287:

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

484:

at West Point, where his father had taught drawing and other relatives had attended. He was admitted to the highly selective institution in July 1851 on the strength of his family name, despite his extreme

1888:

After an indifferent reception to his solo show in London, featuring mostly his nocturnes, Whistler abruptly decided he had had enough of London. He and Trixie moved to Paris in 1892 and resided at n° 110

2755: 2701: 2557: 1912:

while they sought medical treatment. He made drawings on lithographic transfer paper of the view of the River Thames, from the hotel window or balcony, as he sat with her. She died a few months later.

1198:

Whistler had been disappointed over the irregular acceptance of his works for the Royal Academy exhibitions and the poor hanging and placement of his paintings. In response, Whistler staged his first

359:

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. The house is now the

514:." As he himself put it later: "If silicon were a gas, I would have been a general one day". However, a separate anecdote suggests misconduct in drawing class as the reason for Whistler's departure. 991:

founded by these artists and that they had seen his nocturnes. Whistler was drifting away from Courbet's "damned realism" and their friendship had wilted, as had his liaison with Joanna Hiffernan.

1847:, who became a valuable patron in America, and ultimately his most important collector. Around this time, in addition to portraiture, Whistler experimented with early colour photography and with 1224:. Whistler's spare technique and his disinclination to flatter his sitters, as well as his notoriety, may account for this. He also worked very slowly and demanded extraordinarily long sittings. 1885:

was purchased by the French government for 4,000 francs. This was much less than what an American collector might have paid, but that would not have been so prestigious by Whistler's reckoning.

2315: 2306: 476:

Whistler was sent to Christ Church Hall School with his mother's hopes that he would become a minister. Whistler was seldom without his sketchbook and was popular with his classmates for his

6349: 448:, 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. 987:, 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 1430:

in Washington, D.C. The gallery opened to the public in 1923. A large painted caricature by Whistler of Leyland portraying him as an anthropomorphic peacock playing a piano, and entitled

1741:

Whistler, however, thought himself mocked by Oscar Wilde, and from then on, public sparring ensued leading to a total breakdown of their friendship, precipitated by a report written by

818:

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

689:. 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. 4037: 815:, 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. 2629: 6364: 5473:. 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. 5148: 6558: 1315:

choice of paper. At the beginning and end of his career, he placed great emphasis on cleanness of line, though in a middle period he experimented more with inking and the use of

582:

would largely overthrow this philosophy, banning black and brown as "forbidden colors" and emphasizing color over form. Whistler preferred self-study and enjoying the café life.

433:

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. In 1844, he met the noted artist

2081:. 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, 6296: 6119:

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.

2465: 4522: 6728: 4673: 2773: 7390: 2737: 2443: 2401: 1594:

with Ruskin absent for medical reasons, Whistler's counterattack was ineffective. Nonetheless, the jury reached a verdict in favor of Whistler, but awarded a mere

213: 382:. Three of the couple's children died in infancy during this period. Their fortunes improved considerably in 1839 when his father became chief engineer for the 2665: 2647: 2519: 2483: 2136:

lecture into French, helped strengthen respect for Whistler by the French public. Whistler was friendly with his fellow students at Gleyre's studio, including

441:. 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.'" 2575: 2919: 599: 451:

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

7375: 6566: 1452: 794:

Two years later, Whistler painted another portrait of Hiffernan in white, this time displaying his newfound interest in Asian motifs, which he entitled

6543: 4996: 4812:

Letter from James McNeill Whistler to Beatrix Whistler, March 3, 1895, University of Glasgow, Special Collections, reference: GB 0247 MS Whistler W620.

861: 6317: 3620: 1598:

in nominal damages, and the court costs were split. The cost of the case, together with huge debts from building his residence ("The White House" in

595: 4822: 7345: 6457: 5174: 2343:"had become well enough acquainted with Whistler to base several fictional characters on the 'queer little Londonized Southerner,' most notably in 3286: 7360: 6503: 1806: 796: 558:

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.

6721: 2973: 2960: 1581: 1237:

Whistler's approach to portraiture in his late maturity was described by one of his sitters, Arthur J. Eddy, who posed for the artist in 1894:

3787: 1552:

it would certainly bring about nothing but disappointment on the part of the beholders. It is an artistic arrangement. That is why I call it

822:, "General upheaval!! I had to empty my house and purify it from cellar to eaves." He also immediately moved Hiffernan to another location. 7325: 4041: 3974: 2862: 598:

through France and the Rhineland. He later produced a group of etchings known as "The French Set", with the help of French master printer

7370: 7350: 7340: 5458: 1028:

By 1871, Whistler returned to portraits and soon produced his most famous painting, the nearly monochromatic full-length figure entitled

299:, is a revered and often parodied portrait of motherhood. Whistler influenced the art world and the broader culture of his time with his 6369: 5419: 7380: 6597: 4237: 3474: 2293:

city—focusing on the back alleys, side canals, entrance ways, and architectural patterns—and capturing the city's unique atmospherics.

2200: 1647: 1516: 979:

The Franco-Prussian War of 1870 fragmented the French art community. Many artists took refuge in England, joining Whistler, including

2593: 1790:. Through his friendship with Godwin, Whistler had become close to Beatrice, whom Whistler painted in the full-length portrait titled 7335: 6714: 1606:, 1877–8), bankrupted him by May 1879, resulting in an auction of his work, collections, and house. Stansky notes the irony that the 527:

that he was drawing sea serpents, mermaids, and whales on the margins of the maps, he was transferred to the etching division of the

3011: 1965:. She spent the rest of her life defending his reputation and managing his art and effects, much of which eventually was donated to 7320: 6487: 2911: 1851:, creating a series featuring London architecture and the human figure, mostly female nudes. He contributed the first three of his 739: 717: 652:, one of the first to explore translation qualities among art and music, may have inspired Whistler to view art in musical terms. 7305: 7290: 6535: 6495: 6301: 1871: 1398: 528: 4180: 4134: 444:

In 1847–1848, his family spent some time in London with relatives, while his father stayed in Russia. Whistler's brother-in-law

7315: 6354: 3081: 2002: 1819:

Whistler's reputation in London and Paris was rising and he gained positive reviews from critics and new commissions. His book

1728:

Though differing with Whistler on several points, including his insistence that poetry was a higher form of art than painting,

1942:

in London on July 17, 1903, six days after his 69th birthday. He is buried in Chiswick Old Cemetery in west London, adjoining

506:

His departure from West Point seems to have been precipitated by a failure in a chemistry exam where he was asked to describe

367:

as his birthplace during the Ruskin trial: "I shall be born when and where I want, and I do not choose to be born in Lowell."

6124: 6113: 6032: 6014: 5977: 5857: 5842: 5684: 5669: 5540: 5394: 5330: 5280: 5265: 5245: 2683: 1711:

In January 1881, his mother Anna Whistler died. In her honour, he publicly adopted her maiden name McNeill as a middle name.

1373:

is Whistler's masterpiece of interior decorative mural art. Painted in 1876–1877, it is now considered a high example of the

4670: 2719: 6450: 6321: 6307: 4974: 4952: 4702: 967:

invited Whistler to exhibit with the first show by the Impressionists in 1874, Whistler turned down the invitation, as did

6234: 1927:

bronzes, and possessed the second-largest and most important Whistler collection in the world prior to his death in 1914.

704:. At this stage, he was beginning to establish his technique of tonal harmony based on a limited, predetermined palette. 7365: 1406:

purchased the entire room in 1904 from Leyland's heirs, including Leyland's daughter and her husband, the British artist

419: 291: 6327:

Rudolf Wunderlich Collection of James McNeill Whistler Exhibition Catalogs at the Smithsonian's Archives of American Art

7295: 6177: 6079: 5872: 1828: 1776: 1503:, "It is the most debased style of criticism I have had thrown at me yet." He then went to his solicitor and drew up a 1435: 1012: 6415: 1816:, so that the event received publicity. The couple left soon after for Paris, to avoid any risk of a scene with Maud. 1566:

Whistler: "Oh, I 'knock one off' possibly in a couple of days – one day to do the work and another to finish it ..."

6192: 6140: 6054: 5996: 5962: 5932: 5917: 5902: 5887: 5827: 5812: 5797: 5782: 5733: 5718: 5700: 5650: 5630: 5607: 5589: 5574: 5556: 5525: 5510: 5441: 5379: 5365: 5350: 4490: 4442: 4190: 3870: 3756: 3556:"Settlement and building: Artists and Chelsea Pages 102–106 A History of the County of Middlesex: Volume 12, Chelsea" 3145: 2936: 2283:

movement in Australia, otherwise known as Australian impressionism. As American critic Charles Caffin wrote in 1907:

1327:

Whistler's famous butterfly signature first developed in the 1860s out of his interest in Asian art. He studied the

6737: 6616: 5109: 2155:, also posed for Gustave Courbet. Historians speculate that Courbet used her as the model for his erotic paintings 1957:, printmaker and art critic respectively. The Pennells' vast collection of Whistler material was bequeathed to the 1821: 1772: 1626: 761:, a popular novel of the time, or various other literary sources. In England, some considered it a painting in the 228: 6224: 7300: 7275: 6443: 6205: 6169: 953:

gave Whistler the opportunity to explain his evolving "theory in art" to artists, buyers, and critics in France.

925:(c. 1872), and he also began to re-title many of his earlier works using terms associated with music, such as a " 3099: 6158: 481: 103: 17: 5409: 5208: 4901: 2355:". Whistler "also appeared as one of Henry James's most attractive minor characters, the sculptor Gloriani in 1434:– a pun on Leyland's miserliness and fondness for frilly shirt fronts – is in the permanent collection of the 712: 7385: 6884: 6280: 5430: 3788:"She's ba-aack: 'Whistler's Mother,' a more exciting painting than you might think, returns to Art Institute" 2178:

In 1888, Whistler married Beatrice Godwin, whom he called Beatrix or Trixie. She was the widow of his friend

1352: 1102:

in the United States, the picture was billed as a "million dollar" painting and was a big hit at the 1933–34

344: 787: 6679: 6062:

James McNeill Whistler: A Biographical Outline Illustrated from the Collections of the Freer Gallery of Art

5743: 3624: 2429: 2413: 2409: 2212: 1943: 1278: 360: 199: 2989: 808:, both completed in 1864, again portray his mistress, in even more emphatic Asian dress and surroundings. 6419: 5477: 1745:. Later, Wilde "symbolically murdered Whistler", basing Basil Hallward, the murdered artist in his novel 1611: 1206: 1168: 491: 6183:

Young, Andrew McLaren; MacDonald, Margaret; Spencer, Robin; with the assistance of Hamish Miles (1980).

1794:(GLAHA 46315). By the summer of 1888 Whistler and Beatrice appeared in public as a couple. At a dinner 7019: 6646: 3290: 2129: 1747: 1704:

who emulated Whistler's vision of the city and later spread his methods and influence back to America.

1465: 1300: 901: 757: 387: 383: 325: 177: 5852:. Washington, D.C.: National Gallery of Art and London: Royal Academy of Arts/ Yale University Press. 3253: 1634:, just after Whistler declared bankruptcy. Whistler always blamed Leyland for his financial downfall. 1492: 538: 414:

to design a railroad in Russia. The Emperor learned of George Whistler's ingenuity in engineering the

7310: 6959: 6954: 6399: 6338: 1905: 1857: 1587: 1407: 1385:(1827–1881), in a unified palette of brilliant blue-greens with over-glazing and metallic gold leaf. 53: 5132: 4481:

Margaret F. McDonald, "Whistler for President!", in Richard Dorment and Margaret F. McDonald, eds.,

4038:"FRAME|WORK: The Gold Scab: Eruption in Frilthy Lucre (The Creditor) by James McNeill Whistler" 2961:

The Correspondence of James McNeill Whistler, Glasgow University Library, reference MS Whistler W458

880:

After he returned to London, he painted several more nocturnes over the next ten years, many of the

7144: 6834: 6651: 6511: 2803:, an etching and drypoint printed in black on warm, cream Japan paper, 1879–80 sold for $ 282,000. 1954: 1539: 1415: 885: 748: 456:

direction, "I hope, dear father, you will not object to my choice." His father, however, died from

426: 329: 6425: 725: 672:

in 1859 in London, which he adopted as his home, while also regularly visiting friends in France.

594:

Conditions improved during the summer of 1858. Whistler recovered and traveled with fellow artist

553:

At this point, Whistler firmly decided that art would be his future. For a few months he lived in

425:

After moving to St. Petersburg, the young Whistler took private art lessons, then enrolled in the

7330: 7224: 6964: 6839: 6387:"Purple and Rose: The Lange Leizen of the Six Marks by James Abbott McNeill Whistler (cat. 1112)" 2974:

The Correspondence of James McNeill Whistler, Glasgow University Library, reference Whistler W552

2051:

of Paris, and they were often the "talk of the town". They frequently appeared as caricatures in

1916: 1595: 1427: 1214: 434: 394:

now stands. They lived in Springfield until they left the United States for Russia in late 1842.

375: 5113: 4939:(Frick Collection, New York, in association with Yale University Press, New Haven, 2003), p. 79. 3978: 2838: 2450:

A statue of James McNeill Whistler by Nicholas Dimbleby was erected in 2005 at the north end of

7139: 7054: 5083: 2866: 2380: 2191: 2125: 2074: 1962: 1878: 1805:

The marriage ceremony was quickly arranged; as a member of Parliament, Labouchère arranged for

1520: 1311: 1306:

The etchings include portraits of family, mistresses, and intimate street scenes in London and

661: 391: 364: 5462: 4432: 3555: 2436: 2043:

Whistler was well known for his biting wit, especially in exchanges with his friend and rival

206: 7159: 7129: 6859: 6819: 6794: 6706: 6641: 6589: 6342: 6326: 6219: 6108:, edited by Christopher D. M. Atkins. A Philadelphia Museum of Art free digital publication. 6020: 5944: 4997:"Biography of Rosalind Birnie Philip, (1873–1958) University of Glasgow, Special Collections" 2260: 2220: 2179: 2163: 2105: 1836: 1812: 1787: 1722: 1701: 1610:, which had organized a collection to pay for Ruskin's legal costs, supported him in etching 1603: 1500: 1225: 1117:

wrote that it "remains the most important American work residing outside the United States."

445: 351:. He adopted his mother's maiden name after she died, using it as an additional middle name. 321: 317: 278: 182: 67: 5611: 5094: 3894: 3482: 1786:(also called Beatrix or Trixie), a former pupil and the widow of his late friend, architect 1715: 1642: 785:

Whistler's painting was widely noticed, although upstaged by Manet's more shocking painting

604: 480:. However, it became clear that a career in religion did not suit him, so he applied to the 402: 7285: 7280: 7189: 7099: 7079: 7024: 6914: 6527: 6429: 6407: 6067: 2863:"Image gallery of some of Whistler's well-known paintings and others by his contemporaries" 2812: 2322: 2276: 2013: 1863: 1423: 1374: 1364: 1073: 1002: 905: 567: 546: 461: 411: 340: 124: 1949:

Whistler was the subject of a 1908 biography by his friends, the husband-and-wife team of

1220:

Whistler was not so successful a portrait painter as the other famous expatriate American

874: 771: 681:. It was displayed at the Royal Academy the following year, and in many exhibits to come. 649: 8: 7204: 7174: 7084: 7059: 6999: 6939: 6889: 6874: 6695: 5298: 4271: 2268: 2264: 2227:

Whistler was inspired by and incorporated many sources in his art, including the work of

2089: 1958: 1924: 1390: 1221: 1103: 1068:

in endless variations in greeting cards and magazines, and by cartoon characters such as

957: 950: 851: 819: 630: 618: 379: 286: 6291:

James McNeill Whistler: The Paintings, a Catalogue Raisonné, University of Glasgow, 2014

1799: 1077: 1021: 7134: 6934: 6789: 6774: 6386: 6151:

Whistler and His Mother: An Unexpected Relationship: Secrets of an American Masterpiece

5912:. New York: Hyperion Books for Children, in association with the Freer Gallery of Art. 5489: 5235: 2236: 2187: 2060:

Whistler reveled in preparing and managing his social gatherings. As a guest observed:

1966: 1920: 1844: 1512: 1461: 1403: 1188: 747:

was created as a simple study in white; however, others saw it differently. The critic

645: 422:. The rest of the family moved to St. Petersburg to join him in the winter of 1842/43. 348: 6096: 2232: 1576: 1039: 971:, and some scholars attributed this in part to Fantin-Latour's influence on both men. 751:

thought the painting an allegory of a new bride's lost innocence. Others linked it to

737:

In 1861, after returning to Paris for a time, Whistler painted his first famous work,

7355: 7194: 7149: 6984: 6974: 6919: 6904: 6869: 6754: 6636: 6290: 6248: 6188: 6173: 6154: 6136: 6120: 6109: 6075: 6050: 6028: 6010: 5992: 5973: 5958: 5954: 5928: 5913: 5898: 5883: 5868: 5853: 5838: 5823: 5808: 5793: 5778: 5729: 5714: 5696: 5680: 5665: 5646: 5626: 5603: 5585: 5570: 5552: 5536: 5521: 5506: 5437: 5408: 5404: 5390: 5375: 5361: 5346: 5336: 5326: 5320: 5286: 5276: 5261: 5251: 5241: 4486: 4438: 4186: 4138: 3866: 3752: 3261: 3141: 2932: 2526: 2364: 2280: 2198:

posed for many of Whistler's paintings and drawings; with Ethel Whibley modeling for

2028: 1890: 1783: 1457: 1139: 148: 2408:

The Lowell, Massachusetts, house in which Whistler was born is now preserved as the

1930:

In May 1901, Canfield commissioned a portrait from Whistler; he started to pose for

1192: 1083: 733:, Department of Image Collections, National Gallery of Art Library, Washington, D.C. 730: 429:

at age eleven. The young artist followed the traditional curriculum of drawing from

418:

for the Boston & Albany Railroad, and he offered him a position engineering the

261:; July 10, 1834 – July 17, 1903) was an American painter in oils and 7034: 6989: 6924: 6854: 6769: 6662: 6581: 6257: 5950: 5549:

The Street of Wonderful Possibilities: Whistler, Wilde & Sargent in Tite Street

5503:

Diabolical Designs: Paintings, Interiors, and Exhibitions of James McNeill Whistler

5043: 4953:"Biography of Ethel Whibley (1861–1920) University of Glasgow, Special Collections" 2924: 2817: 2451: 2327: 2296: 2152: 2070: 2053: 1978: 1935: 1782:

With his relationship with Maud Franklin unraveling, Whistler suddenly proposed to

1775:

in 1884, and on June 1, 1886, he was elected president. The following year, during

1667: 1607: 1572:

Whistler: "No, I ask it for the knowledge I have gained in the work of a lifetime."

1482:

For Mr. Whistler's own sake, no less than for the protection of the purchaser, Sir

1347: 1114: 1099: 980: 946: 856: 744: 621:, whom he met at the Louvre. Through him, Whistler was introduced to the circle of 486: 235: 5030:

Sickert worked hard with Whistler on his "Ten O'Clock" lecture. Sturgis, Matthew,

2946: 2167:, possibly leading to the breakup of the friendship between Whistler and Courbet. 2132:. His close friendships with Monet and poet Stéphane Mallarmé, who translated the 2109: 1754: 1203:

it, and is more interested, perhaps, in the general effect than in any one work."

968: 638: 460:

at the age of 49, and the Whistler family moved back to his mother's home town of

7254: 7249: 7234: 7169: 7119: 7104: 7014: 6994: 6829: 6814: 6779: 6304:

which houses the premier collection of Whistler works including the Peacock Room.

6284: 6007:

Arrangement in Business: The Art Markets and the Career of James McNeill Whistler

5984: 5595: 5128: 4677: 2796: 2357: 2351: 2345: 2097: 2093: 2082: 1469: 1199: 1134: 1118: 826: 812: 634: 622: 438: 6392: 6244: 6103: 2361:, whose personality, way of life, and even home are closely based on Whistler." 2048: 1915:

In 1899, Charles Freer introduced Whistler to his friend and fellow businessman

1569:

Holker: "The labour of two days is that for which you ask two hundred guineas?"

1488: 7244: 7239: 7199: 7164: 7109: 7064: 6979: 6899: 6894: 6824: 6809: 5618: 5309: 2928: 2369: 2259:

had a profound effect on many American artists, including John Singer Sargent,

2248: 1950: 1867: 1795: 1742: 1697: 1483: 1474: 1382: 1180: 1057: 762: 752: 678: 571: 500: 452: 415: 274: 1684:. He eagerly accepted the assignment, and arrived in the city with girlfriend 1614:(and in exhibiting the series in 1883), which helped recoup Whistler's costs. 43: 7269: 7089: 7049: 7039: 7009: 7004: 6949: 6909: 6879: 6764: 6656: 6411:, National Gallery of Art, East Building Mezzanine, July 3 – October 10, 2022 5938: 5423:. Vol. 28 (11th ed.). Cambridge University Press. pp. 596–597. 5414: 5255: 3265: 3183:

American Authors, 1600-1900: A Biographical Dictionary of American Literature

3033: 2375: 2195: 2137: 2113: 2078: 2006: 1901: 1825:

was published in 1890 with mixed success, but it afforded helpful publicity.

1685: 1652: 1184: 1053: 988: 938: 779: 626: 579: 5340: 5290: 1229:

acceptance in the 1890s, Whistler was past his prime as a portrait painter.

1187:(his mistress, 1876), Cicely Alexander (daughter of a London banker, 1873), 1007: 7229: 7214: 7184: 7154: 7114: 7094: 7074: 7069: 6944: 6864: 6844: 6799: 6784: 6519: 6266: 6262: 6085: 4263: 2117: 2020: 1894: 1689: 1328: 1316: 1292: 1149: 984: 881: 866: 775: 495: 430: 343:, although it remains unclear to what extent he truly sympathized with the 6153:. London: Gibson Square; Lincoln, Nebraska: University of Nebraska Press. 5970:

Falling Rocket: James Whistler, John Ruskin, and the Battle for Modern Art

1870:. Whistler had met Vivian in the late 1880s when both were members of the 617:. But the event of greatest consequence that year was his friendship with 7219: 7124: 7044: 6804: 6759: 6435: 5818:

MacDonald, Margaret F., Galassi, Susan Grace and Ribeiro, Aileen (2003).

5763: 5753: 5739: 5485: 4935:

Patricia de Montfort, "White Muslin: Joanna Hiffernan and the 1860s," in

2340: 2252: 2121: 2044: 1909: 1848: 1729: 1680:

After the trial, Whistler received a commission to do twelve etchings in

1599: 1524: 1478:

on July 2, 1877. Ruskin praised Burne-Jones, while he attacked Whistler:

1447: 1266: 1069: 964: 942: 834: 830: 437:, who came to Russia with a commission to paint a history of the life of 277:

and moral allusion in painting and was a leading proponent of the credo "

5471:

Whistler on Art: Selected Letters and Writings of James McNeill Whistler

1972: 7179: 6969: 6849: 6749: 5865:

Whistler and the World: The Lunder Collection of James McNeill Whistler

2157: 1286: 1154: 1129: 477: 468:

aided by natural abilities, made him very charming, even at that age."

300: 270: 266: 262: 6271: 6090:

James McNeil Whistler: Paintings, Etchings, Pastels & Watercolours

4168: 921:

At that point, Whistler painted another self-portrait and entitled it

289:, emphasizing the primacy of tonal harmony. His most famous painting, 7029: 3621:"Detroit Institute of Arts webpage image and description of painting" 3103: 2388: 2332: 2228: 2141: 1991: 1460:, an alternative to the Royal Academy exhibition, alongside works by 1274: 1144: 894: 889: 692:

After a year in London, he produced a set of etchings in 1860 called

614: 554: 523: 336: 4012: 2972:

Letter to Whistler from Anna Matilda Whistler, dated July 11, 1876.

2959:

Letter to Whistler from Anna Matilda Whistler, dated July 11, 1855.

1732:

was generous in his praise and hailed the lecture as a masterpiece:

1499:

Whistler, seeing the attack in the newspaper, replied to his friend

1396:

Having acquired the centerpiece of the room, Whistler's painting of

6929: 4882: 2256: 1765: 1760: 1618: 1332: 1270: 1056:

rejected it, but then grudgingly accepted it after lobbying by Sir

930: 926: 136: 6379: 6330: 6277: 5897:. Washington, D.C.: Freer Gallery of Art / Yale University Press. 1523:

and a special jury. Counsel for John Ruskin, Attorney General Sir

1060:—but they hung it in an unfavorable location at their exhibition. 335:

In later years, Whistler played up his mother's connection to the

5925:

After Whistler: The Artist and His Influence on American Painting

3455: 1802:

insisted that they should be married before the end of the week.

1256: 934: 532: 507: 457: 6559:

Arrangement in Grey and Black, No. 2: Portrait of Thomas Carlyle

6312: 6272:

The Correspondence of James McNeill Whistler, Glasgow University

4975:"The Correspondence of James McNeill Whistler :: Biography" 4796: 4794: 4558: 4556: 4554: 4552: 4317: 1893:, with his studio at the top of 86 Rue Notre Dame des Champs in 285:

entitled many of his paintings "arrangements", "harmonies", and

6409:

The Woman in White: Joanna Hiffernan and James McNeill Whistler

6238: 5850:

The Woman in White: Joanna Hiffernan and James McNeill Whistler

4283: 4281: 3731: 3729: 3704: 3702: 3644: 3642: 3603: 3601: 3538: 3536: 2272: 1681: 1651:(1888–1900), National Gallery of Art, Washington, D.C. (Model: 1538:

Whistler: "It is a night piece and represents the fireworks at

1307: 729:

James Abbott McNeill Whistler, Paris, c.1863, albumen print by

587: 575: 6736: 3421: 3419: 3234: 3162: 253: 6025:

A Fragile Modernism: Whistler and His Impressionist Followers

5012: 4861: 4849: 4837: 4791: 4779: 4767: 4725: 4652: 4640: 4628: 4604: 4592: 4568: 4549: 4495: 4463: 2424:

Whistler achieved worldwide recognition during his lifetime:

1508: 1331:

on the china he had begun to collect and decided to design a

6393:

The John G. Johnson Collection: A History and Selected Works

6278:

Catalogue raisonné of the etchings of James McNeill Whistler

6105:

The John G. Johnson Collection: A History and Selected Works

5679:

Washington, D.C.: Smithsonian Institution Scholarly Press.

5677:

Palaces of Art: Whistler and the Art Worlds of Aestheticism.

4412: 4400: 4388: 4359: 4305: 4293: 4278: 4218: 4206: 4080: 4068: 4056: 3912: 3843: 3831: 3819: 3726: 3699: 3678: 3666: 3654: 3639: 3598: 3586: 3533: 2391:. She owned and displayed an original etching of Whistler's 1322: 303:

and his friendships with other leading artists and writers.

4680:. The Tate Museum, London, 2005, accessed December 3, 2010. 4519:

The Hunterian Museum and Art Gallery, University of Glasgow

4137:. Whistler.arts.gla.ac.uk. October 14, 2003. Archived from 3416: 3389: 3377: 3365: 3353: 3341: 3329: 3317: 3305: 3222: 3189: 3150: 3118: 1961:. The artist's entire estate was left to his sister-in-law 1504: 1389:

Cordoba leather wall coverings first brought to Britain by

1282: 1251: 339:

and its roots, and he presented himself as an impoverished

6403:, Royal Academy of Arts, London, 26 February – 22 May 2022 5833:

MacDonald, Margaret F., and de Montfort, Patricia (2013).

5049: 4616: 4451: 3475:"Explanation of Whistler's purpose in making the painting 3061: 2088:

Whistler was friendly with many French artists, including

1464:

and other artists. Ruskin, who had been a champion of the

566:

Whistler arrived in Paris in 1855, rented a studio in the

5880:

A Pot of Paint: Aesthetics on Trial in Whistler v. Ruskin

5610:. With contributions by Nicolai Cikovsky Jr., Ruth Fine, 4537: 4182:

The Gentle Art of Making Enemies – James McNeill Whistler

4161:

A Pot of Paint: Aesthetics on Trial in Whistler v. Ruskin

2799:

set a record price for a Whistler print at auction, when

511: 244: 6496:

Rose and Silver: The Princess from the Land of Porcelain

6396:, a Philadelphia Museum of Art free digital publication. 5910:

The Princess and the Peacocks or, The Story of the Room

5748:

The Venetian Hours of Henry James, Whistler, and Sargent

4683: 4102:(London, England), Tuesday, November 26, 26, 1878; p. 9. 3807: 3509: 2444:

International Society of Sculptors, Painters and Gravers

2402:

The Pantheon, from the Terrace of the Luxembourg Gardens

1310:. Whistler gained an enormous reputation as an etcher. 609:. During that year, he painted his first self-portrait, 214:

International Society of Sculptors, Painters and Gravers

5768:

Whistler Lithographs: An Illustrated Catalogue Raisonné

5189: 4378: 4376: 4374: 4349: 4347: 4334: 4332: 3975:"A Closer Look – James McNeill Whistler – Peacock Room" 3936: 3406: 3404: 3212: 3210: 3208: 3206: 3204: 3051: 3049: 3047: 2984: 2982: 2387:

Whistler was the favorite artist of singer and actress

1179:

Other important portraits by Whistler include those of

273:

and based primarily in the United Kingdom. He eschewed

6168:. New York: Harry N. Abrams, Inc. in association with 5505:. Washington D.C.: The Smithsonian Institution Press. 3957: 3955: 3953: 3951: 3875: 3005: 3003: 531:. He lasted there only two months, but he learned the 6287:

by M.F. MacDonald, G. Petri, M. Hausberg, J. Meacock.

5345:

Also published New York: Todtri Productions Limited.

4744:

London Cemeteries: An Illustrated Guide and Gazetteer

4713: 4580: 2888: 2886: 2884: 721:(1862), The National Gallery of Art, Washington, D.C. 700:

as well as some early impressionistic work including

535:

technique which later proved valuable to his career.

247: 241: 6072:

Whistler's Mother: Portrait of an Extraordinary Life

5724:

Heijbroek, J. E. and MacDonald, Margaret F. (1997).

5066: 5064: 4894: 4485:, New York: Harry N. Abrams, Inc., 1994, pp. 49–55, 4371: 4344: 4329: 3993: 3924: 3714: 3574: 3521: 3497: 3443: 3431: 3401: 3201: 3044: 3009: 2979: 2190:

and his wife Frances Black. Beatrix and her sisters

743:. The portrait of his mistress and business manager 250: 104:

United States Military Academy, West Point, New York

5882:. Washington, D.C.: Smithsonian Institution Press. 5569:. New York: W. W. Norton and Freer Gallery of Art. 5358:

Design & The Decorative Arts, Britain 1500–1900

5308:Pennell, Joseph; Pennell, Elizabeth Robins (1911). 3948: 3000: 2442:1898: became a charter member and first president, 2073:circle of artists, writers and poets that included 2069:In Paris, Whistler was friends with members of the 1617:Whistler published his account of the trial in the 238: 6274:Edited by M.F. MacDonald, P.de Montfort, N. Thorp. 6098:Purple and Rose: The Lange Leizen of the Six Marks 6064:. Washington, D.C.: Smithsonian Institution Press. 5867:. Waterville, Maine: Colby College Museum of Art. 5567:James McNeill Whistler at the Freer Gallery of Art 5533:A Short Biography of James Abbott McNeill Whistler 5429: 4135:"See The Correspondence of James McNeill Whistler" 3082:"Springfield's 375th: From Puritans to presidents" 2910: 2905:Spencer, Robin (2004). "Whistler, James Abbott Mc 2881: 613:, a dark and thickly rendered work reminiscent of 5061: 4040:. Deyoung.famsf.org. May 30, 2012. Archived from 3751:, Lund Humphries, Burlington, Vt., 2003, p. 137; 1900:He felt welcomed by his old Paris friends Monet, 1495:for flinging a pot of paint in the public's face. 1159:visitor to the enormous venue of popular culture. 574:. The latter was a great advocate of the work of 7267: 2654:Nocturne in Pink and Gray, Portrait of Lady Meux 1559:Holker: "Did it take you much time to paint the 212:1898, charter member and first president of the 7391:Members of the Royal Society of British Artists 6567:Nocturne in Black and Gold – The Falling Rocket 6504:Symphony in White, No. 2: The Little White Girl 6235:111 artworks by or after James McNeill Whistler 5046:, emelbourne.net.au. Retrieved 2 February 2024. 2762:Harmony in Blue and Gold - The Little Blue Girl 1996:Symphony in White No. 2 (The Little White Girl) 328:, and the elder brother of Confederate surgeon 6544:Nocturne: Blue and Gold – Old Battersea Bridge 6313:Whistler House Museum of Art official web site 5835:An American in London: Whistler and the Thames 5675:Glazer, Lee and Merrill, Linda, eds. (2013). 5482:3rd ed., G. P. Putnam's Sons, New York, 1904 . 5307: 4855: 4703:"The Correspondence of James McNeill Whistler" 2124:. As a young artist, he was a close friend of 1721:in 1885, a major expression of his belief in " 1582:Nocturne in Black and Gold: The Falling Rocket 1533:Nocturne in Black and Gold: The Falling Rocket 1472:, reviewed Whistler's work in his publication 1453:Nocturne in Black and Gold: The Falling Rocket 862:Nocturne: Blue and Gold – Old Battersea Bridge 778:for the exhibition of works rejected from the 660:Reflecting his adopted circle's banner of the 6722: 6451: 5461:. The Baltimore Museum of Art. Archived from 5233: 5018: 4843: 4800: 4785: 4773: 4731: 4658: 4634: 4610: 4598: 4501: 4469: 4418: 4406: 4394: 4365: 4323: 4311: 4299: 4287: 4224: 4212: 4086: 4074: 4062: 3918: 3849: 3837: 3825: 3735: 3708: 3684: 3672: 3660: 3648: 3607: 3592: 3542: 3461: 3425: 3395: 3383: 3371: 3359: 3347: 3335: 3323: 3311: 3240: 3228: 3195: 3168: 3156: 3124: 3067: 2582:Nocturne in Gray and Gold, Westminster Bridge 1923:furniture, tapestries, Chinese porcelain and 1261:, c. 1889 – etching by James McNeill Whistler 664:, Whistler painted his first exhibited work, 6100:by James Abbott McNeill Whistler (cat. 1112) 5664:. Washington D.C.: Smithsonian Institution. 4977:. Whistler.arts.gla.ac.uk. February 20, 2003 4906:The Correspondence of James McNeill Whistler 4823:"University of Glasgow, Special Collections" 4238:"National Gallery of Art webpage describing 4167:, Vol. 24, No. 3 (Winter, 1994), pgs. 536–7 2990:"James Abbott McNeill Whistler – Questroyal" 2923:(online ed.). Oxford University Press. 2182:, the architect who had designed Whistler's 923:Arrangement in Gray: Portrait of the Painter 811:During this period Whistler became close to 49:Arrangement in Gray: Portrait of the Painter 6401:Whistler's Woman in White: Joanna Hiffernan 6380:The Whistler Society, London. Founded 2012. 4947: 4945: 2454:on the River Thames in the United Kingdom. 1874:, the first of the Neo-Jacobite societies. 1675:, by E. R. and J. Pennell, Volume 2 (1908) 829:, an area popular with artists, firstly in 7376:Hall of Fame for Great Americans inductees 6729: 6715: 6598:Mother of Pearl and Silver: The Andalusian 6582:Harmony in Blue and Gold: The Peacock Room 6465: 6458: 6444: 6297:James McNeill Whistler exhibition catalogs 5760:. New York: Cosmopolitan Book Corporation. 5518:James McNeill Whistler: First Impressions. 5384: 5314:(5th ed.). London: William Heinemann. 5055: 4867: 4622: 4457: 4240:Mother of pearl and silver: The Andalusian 4159:Peter Stansky's review of Linda Merrill's 2201:Mother of Pearl and Silver: The Andalusian 1648:Mother of Pearl and Silver: The Andalusian 1371:Harmony in Blue and Gold: The Peacock Room 888:, a pleasure park famous for its frequent 42: 5908:Merrill, Linda, and Ridley, Sarah (1993) 5790:Palaces in the Night: Whistler and Venice 5427: 4888: 4646: 4574: 4562: 4543: 4515:""Harmony in Red: Lamplight" (1884–1886)" 1986: 1877:In 1891, with help from his close friend 1323:Butterfly signature and painting settings 1043:Whistler's mother Anna Whistler, c. 1850s 687:Harmony in Green and Rose: The Music Room 378:in 1837, where his father worked for the 6488:Symphony in White, No. 1: The White Girl 6308:An account of the Whistler/Ruskin affair 6254:Works by or about James McNeill Whistler 5535:. Carlisle, Massachusetts: Benna Books. 4942: 4179:Whistler, James Mcneill (January 1967). 4178: 3287:"Blackwell, Jon, A Salute to West Point" 2836: 2618:The Gold Scab: Eruption in Frilthy Lucre 2428:1884: elected an honorary member of the 2295: 2211: 2019: 2001: 1990: 1971: 1827: 1753: 1641: 1575: 1450:after the critic condemned his painting 1432:The Gold Scab: Eruption in Frilthy Lucre 1351: 1291: 1250: 1205: 1167: 1082: 1038: 1006: 855: 774:in Paris, an event sponsored by Emperor 740:Symphony in White, No. 1: The White Girl 724: 718:Symphony in White, No. 1: The White Girl 711: 537: 401: 363:, a museum dedicated to him. He claimed 7346:Artists from Springfield, Massachusetts 6185:The Paintings of James McNeill Whistler 5983: 5848:MacDonald, Margaret F., et al. (2020). 5690: 5640: 5617: 5403: 5270: 5237:James McNeill Whistler: Beyond the Myth 5195: 4955:. Whistler.arts.gla.ac.uk. May 21, 1920 4671:"Turner, Whistler, Monet: Thames Views" 4430: 3881: 3785: 3079: 2920:Oxford Dictionary of National Biography 2913:Oxford Dictionary of National Biography 2904: 2508:The Princess from the Land of Porcelain 1622:Whistler v. Ruskin: Art and Art Critics 1399:The Princess from the Land of Porcelain 1357:The Princess from the Land of Porcelain 163: 1888; died 1896) 14: 7361:Vanity Fair (British magazine) artists 7268: 6318:Works by James Abbott McNeill Whistler 6130: 5895:The Peacock Room: A Cultural Biography 5775:The Etchings of James McNeill Whistler 5436:. New York, NY: Weybright and Talley. 5410:"Whistler, James Abbott McNeill" 5318: 5296: 5234:Anderson, Ronald; Koval, Anne (1995). 5095:"James McNeill Whistler: The Etchings 4902:"Biography – Maud Franklin, 1857–1941" 4719: 4689: 4586: 4431:Ellmann, Richard (September 4, 2013). 4382: 4353: 4338: 3999: 3961: 3942: 3930: 3865:, p. 132. Studio Editions Ltd., 1994; 3813: 3720: 3580: 3527: 3515: 3503: 3449: 3437: 3410: 3216: 3180: 3140:, Wings Books, New York, 1989, p. 35, 3055: 3010:New England Magazine (February 1904). 2909:(1834–1903), painter and printmaker". 2892: 2223:, 1885; The Metropolitan Museum of Art 1402:, American industrialist and aesthete 1365:Freer Gallery of Art, Washington, D.C. 900:In 1872, Whistler credited his patron 561: 6710: 6439: 6042:. London and New York: Phaidon Press. 5623:James Abbott McNeill Whistler: A Life 5598:, and MacDonald, Margaret F. (1994). 5240:. New York, NY.: Carroll & Graf. 3185:. New York: H.W. Wilson. p. 802. 2780:Blue and Coral The Little Blue Bonnet 2395:and two of his original lithographs, 1456:. Whistler exhibited the work in the 1410:. Freer then had the contents of the 1265:Whistler produced numerous etchings, 908:, for his musically inspired titles. 825:From 1866, Whistler made his home in 522:After West Point, Whistler worked as 410:In 1842, his father was recruited by 397: 320:on July 10, 1834, the first child of 198:1884, elected honorary member, Royal 6426:Whistler: Streetscapes, Urban Change 6416:Whistler: Streetscapes, Urban Change 6322:University of Michigan Museum of Art 6038:Spaulding, Frances (2nd ed. 1994 ). 5837:. London: Philip Wilson Publishers. 5822:. Frick Collection/Yale University. 5803:MacDonald, Margaret F., ed. (2003). 5303:. London: The Print Collectors Club. 5209:"Nocturne: Our Most Expensive Print" 4507: 4437:. Knopf Doubleday Publishing Group. 4165:Journal of Interdisciplinary History 3696:Anderson and Koval, p. 141, plate 7. 2708:Green and Silver- Beaulieu, Touraine 2564:Variations in Pink and Grey- Chelsea 2397:The Steps, Luxembourg Gardens, Paris 1807:the Chaplain to the House of Commons 1519:on November 25 and 26, 1878, before 994: 668:in 1858. He followed it by painting 591:smoking and drinking, laid him low. 386:, and the family built a mansion in 7326:American people of Scottish descent 6647:George Washington Whistler (father) 6536:Nocturne: Blue and Silver – Chelsea 6170:The National Museum of American Art 5805:Whistler's Mother: An American Icon 5693:The World of James McNeill Whistler 5546: 5211:. Swann Galleries. October 29, 2010 4873: 4746:, by Hugh Meller and Brian Parsons. 3749:Whistler's Mother: An American Icon 3548: 2186:, and the daughter of the sculptor 1833:Arrangement in Pink, Red and Purple 1714:Whistler published his first book, 1339: 1281:in Paris, and Georgian churches in 873:In 1866, Whistler decided to visit 837:, and finally Upper Church Street. 510:and began by saying, "Silicon is a 292:Arrangement in Grey and Black No. 1 24: 7371:American people of English descent 7351:Royal Society of Portrait Painters 7341:Artists from Lowell, Massachusetts 6652:William McNeill Whistler (brother) 6432:, November 18, 2023 – May 4, 2024. 5792:. University of California Press. 5495: 5451: 5311:The Life of James McNeill Whistler 3254:"Books: West Pointer with a Brush" 2790: 1673:The Life of James McNeill Whistler 1545:Holker: "Not a view of Cremorne?" 1436:Fine Arts Museums of San Francisco 1393:that Leyland had paid £1,000 for. 1163: 1030:Arrangement in Grey and Black No.1 1013:Arrangement in Grey and Black No.1 316:James Abbott Whistler was born in 25: 7402: 7381:20th-century American printmakers 6199: 5662:James McNeill Whistler in Context 5582:Whistler and His Circle in Venice 5356:Snodin, Michael and John Styles. 1866:magazine published by his friend 1446:In 1877 Whistler sued the critic 1422:was permanently installed in the 1299:, etching and drypoint, 1879–80, 904:, an amateur musician devoted to 7336:Officers of the Legion of Honour 6738:Hall of Fame for Great Americans 6617:The Gentle Art of Making Enemies 6355:The New Student's Reference Work 6329: 5991:. London: Macdonald and Jane's. 5972:. New York: Pegasus Books, Ltd. 5520:New York: Harry N. Abrams, Inc. 5479:The Gentle Art of Making Enemies 5476:Whistler, James Abbott McNeill, 5201: 5167: 5141: 5122: 5103: 5088: 5077: 5037: 5024: 5003: 4989: 4967: 4929: 4920: 4815: 4806: 4758: 4749: 4737: 4695: 4664: 4475: 4424: 3786:Johnson, Steve (March 3, 2017). 2837:Bridgers, Jeff (June 20, 2013). 2772: 2754: 2736: 2718: 2700: 2682: 2664: 2646: 2628: 2610: 2592: 2574: 2556: 2538: 2518: 2500: 2482: 2464: 1822:The Gentle Art of Making Enemies 1627:The Gentle Art of Making Enemies 1563:How soon did you knock it off?" 1531:Holker: "What is the subject of 840: 766:private gallery under the title 374:The family moved from Lowell to 234: 7321:American Impressionist painters 6263:Works by James McNeill Whistler 6245:Works by James McNeill Whistler 6095:Thompson, Jennifer A. (2017). " 6070:and Toutziari, Georgia (2018). 5531:Corbacho, Henri-Pierre (2018). 5387:Whistler: A Life for Art's Sake 5149:"Doris Day's Estate at Auction" 4256: 4230: 4172: 4153: 4127: 4118: 4113:Nineteenth-Century European Art 4105: 4092: 4030: 4005: 3967: 3887: 3855: 3798: 3779: 3770: 3761: 3741: 3690: 3613: 3562:. Victoria County History, 2004 3467: 3279: 3246: 3174: 3130: 3092: 3080:Phaneuf, Wayne (May 10, 2011). 3073: 2147:Whistler's lover and model for 1932:Portrait of Richard A. Canfield 1777:Queen Victoria's Golden Jubilee 1441: 1418:. After Freer's death in 1919, 770:. In 1863, it was shown at the 707: 545:(1858), a self-portrait at the 420:Saint Petersburg-Moscow Railway 160: 7306:20th-century American painters 7291:19th-century American painters 6642:Anna McNeill Whistler (mother) 6365:Whistler, James Abbott McNeill 6350:Whistler, James Abbott McNeill 5923:Merrill, Linda, et al. (2003) 5820:Whistler, Women, & Fashion 5788:MacDonald Margaret F. (2001). 5750:. Bulfinch Press/Little Brown. 5584:. London: Merrell Publishers. 5501:Bendix, Deanna Marohn (1995). 5385:Sutherland, Daniel E. (2014). 5360:. V&A Publications: 2001. 5034:, HarperCollins, 2005, p. 118. 3767:Margaret F. MacDonald, p. 125. 3026: 3022:. Boston, MA: America Company. 2966: 2953: 2898: 2855: 2830: 2251:was his pupil, and the writer 2010:Arrangement in White and Black 1637: 1246: 482:United States Military Academy 354: 13: 1: 7316:American emigrants to England 6571: 6548: 6481:Portrait of Whistler with Hat 5807:. Aldershot: Lund Humphries. 5773:Lochnan, Katherine A.(1984). 5300:The British School of Etching 5260:; London: John Murray, 1994. 5227: 5009:Anderson and Koval, plate 45. 4926:Anderson and Koval, plate 40. 4764:Anderson and Koval, plate 46. 4755:Anderson and Koval, plate 44. 3977:. Asia.si.edu. Archived from 3776:Margaret F. MacDonald, p. 80. 2435:1892: made an officer of the 2302:James Abbott McNeill Whistler 2144:Whistler later would mentor. 1976:Etching of Whistler's model, 1032:, but usually referred to as 611:Portrait of Whistler with Hat 543:Portrait of Whistler with Hat 471: 306: 269:, active during the American 225:James Abbott McNeill Whistler 205:1892, made an officer of the 6680:Whistler House Museum of Art 6293:by M.F. MacDonald, G. Petri. 6225:Resources in other libraries 5968:Murphy, Paul Thomas (2023). 5863:McCann, Justin, ed. (2015). 5660:Glazer, Lee, et al. (2008). 5135:The New York Review of Books 4937:Whistler, Women, and Fashion 4856:Pennell & Pennell (1911) 3747:Margaret F. MacDonald, ed., 2947:UK public library membership 2546:Three Figures, Pink and Grey 2414:St Nicholas Church, Chiswick 2410:Whistler House Museum of Art 1944:St Nicholas Church, Chiswick 1700:(and Duveneck's "boys") and 1232: 974: 845: 833:, then an ill-fated move to 696:as counterpoint to his 1858 517: 384:Boston & Albany Railroad 361:Whistler House Museum of Art 200:Academy of Fine Arts, Munich 27:American painter (1834–1903) 7: 6420:Colby College Museum of Art 6172:, Smithsonian Institution. 5947:: The Butterfly and the Bat 5645:. London: Allen and Unwin. 5643:The Young Whistler, 1834–66 5641:Fleming, Gordon H. (1978). 5551:. London: Frances Lincoln. 5490:"Mr Whistler’s Ten O’Clock" 5428:Weintraub, Stanley (1974). 5374:. London: Studio Editions. 5325:. New York, NY: Smithmark. 5019:Anderson & Koval (1995) 4844:Anderson & Koval (1995) 4801:Anderson & Koval (1995) 4786:Anderson & Koval (1995) 4774:Anderson & Koval (1995) 4732:Anderson & Koval (1995) 4707:www.whistler.arts.gla.ac.uk 4659:Anderson & Koval (1995) 4635:Anderson & Koval (1995) 4611:Anderson & Koval (1995) 4599:Anderson & Koval (1995) 4502:Anderson & Koval (1995) 4470:Anderson & Koval (1995) 4419:Anderson & Koval (1995) 4407:Anderson & Koval (1995) 4395:Anderson & Koval (1995) 4366:Anderson & Koval (1995) 4324:Anderson & Koval (1995) 4312:Anderson & Koval (1995) 4300:Anderson & Koval (1995) 4288:Anderson & Koval (1995) 4225:Anderson & Koval (1995) 4213:Anderson & Koval (1995) 4087:Anderson & Koval (1995) 4075:Anderson & Koval (1995) 4063:Anderson & Koval (1995) 3919:Anderson & Koval (1995) 3850:Anderson & Koval (1995) 3838:Anderson & Koval (1995) 3826:Anderson & Koval (1995) 3736:Anderson & Koval (1995) 3709:Anderson & Koval (1995) 3685:Anderson & Koval (1995) 3673:Anderson & Koval (1995) 3661:Anderson & Koval (1995) 3649:Anderson & Koval (1995) 3608:Anderson & Koval (1995) 3593:Anderson & Koval (1995) 3543:Anderson & Koval (1995) 3462:Anderson & Koval (1995) 3426:Anderson & Koval (1995) 3396:Anderson & Koval (1995) 3384:Anderson & Koval (1995) 3372:Anderson & Koval (1995) 3360:Anderson & Koval (1995) 3348:Anderson & Koval (1995) 3336:Anderson & Koval (1995) 3324:Anderson & Koval (1995) 3312:Anderson & Koval (1995) 3241:Anderson & Koval (1995) 3229:Anderson & Koval (1995) 3196:Anderson & Koval (1995) 3169:Anderson & Koval (1995) 3157:Anderson & Koval (1995) 3125:Anderson & Koval (1995) 3068:Anderson & Koval (1995) 2806: 2744:The Bathing Posts, Brittany 2047:. Both were figures in the 1561:Nocturne in Black and Gold? 1527:, cross-examined Whistler: 1016:(1871), popularly known as 311: 10: 7407: 7366:American portrait painters 7020:Henry Wadsworth Longfellow 6422:, June 3–October 22, 2023. 5949:. New York and Paris: The 5565:Curry, David Park (1984). 4999:. Whistler.arts.gla.ac.uk. 4111:Petra ten-Doesschate Chu, 3289:. Usma.edu. Archived from 2976:. Retrieved July 31, 2018. 2963:. Retrieved July 31, 2018. 2677:watercolour on brown paper 2457: 2430:Royal Academy of Fine Arts 2130:Pre-Raphaelite Brotherhood 2100:. He illustrated the book 1773:Society of British Artists 1748:The Picture of Dorian Gray 1608:Fine Art Society of London 1345: 1301:Metropolitan Museum of Art 1277:; while others depict the 1000: 849: 529:United States Coast Survey 388:Springfield, Massachusetts 326:George Washington Whistler 295:(1871), commonly known as 178:George Washington Whistler 52:(self portrait, c. 1872), 7296:19th-century male artists 6960:Oliver Wendell Holmes Jr. 6955:Oliver Wendell Holmes Sr. 6745: 6688: 6672: 6627: 6608: 6473: 6220:Resources in your library 6187:. Yale University Press. 6074:. Yale University Press. 6060:Stubbs, Burns A. (1950). 6047:Whistler: A Retrospective 6027:. Yale University Press. 5927:. Yale University Press. 5777:. Yale University Press. 5728:. Rijksmuseum Amsterdam. 5713:. Yale University Press. 5709:Grieve, Alastair (1984). 5389:. Yale University Press. 5275:, Edinburgh: Mainstream, 4891:, pp. 166 & 322. 4825:. Whistler.arts.gla.ac.uk 3623:. Dia.org. Archived from 3481:. Dia.org. Archived from 3138:Whistler: A Retrospective 2994:www.questroyalfineart.com 2865:. Dia.org. Archived from 2419: 2207: 2025:Harmony in Red: Lamplight 1906:Henri de Toulouse-Lautrec 1792:Harmony in Red: Lamplight 1602:, Chelsea, designed with 1588:Detroit Institute of Arts 655: 191: 170: 142: 131: 117: 109: 99: 91: 75: 60: 54:Detroit Institute of Arts 41: 34: 7145:William Tecumseh Sherman 6835:George Washington Carver 6637:Beatrice Whistler (wife) 6512:Symphony in White, No. 3 6302:The Freer Gallery of Art 6135:. London: Studio Vista. 6092:. London: Phaidon Press. 6049:. New York: Wing Books. 6005:Petri, Grischka (2011). 5770:. London: Jupiter Books. 5691:Gregory, Horace (1961). 5602:. London: Tate Gallery. 5459:"George A. Lucas Papers" 5319:Peters, Lisa N. (1996). 5133:"Venice Out of Season," 3181:Kunitz, Stanley (1938). 2823: 1955:Elizabeth Robins Pennell 1624:, included in his later 749:Jules-Antoine Castagnary 427:Imperial Academy of Arts 406:Whistler circa 1847–1849 330:William McNeill Whistler 7225:John Greenleaf Whittier 6840:William Ellery Channing 6370:Encyclopædia Britannica 6131:Taylor, Hilary (1978). 6045:Spencer, Robin (1991). 6009:. Hildesheim: G. Olms. 5893:Merrill, Linda (1998). 5878:Merrill, Linda (1992). 5625:. Adlestrop: Windrush. 5420:Encyclopædia Britannica 5370:Spencer, Robin (1994). 5297:Hardie, Martin (1921). 5271:Cookson, Brian (2006), 5099:, University of Glasgow 5070:Dorment and MacDonald, 4908:. University of Glasgow 4185:. Courier Corporation. 2316:Famous Americans Series 2271:(whom he befriended in 1917:Richard Albert Canfield 1872:Order of the White Rose 1215:National Gallery of Art 1191:(socialite, 1882), and 802:Lady of the Land Lijsen 788:Le déjeuner sur l'herbe 644:Also in this group was 376:Stonington, Connecticut 7301:American male painters 7276:James McNeill Whistler 7210:James McNeill Whistler 7140:Augustus Saint-Gaudens 7055:Matthew Fontaine Maury 6467:James McNeill Whistler 6384:Jennifer A. Thompson, 6373:(11th ed.). 1911. 6339:James McNeill Whistler 6283:April 9, 2021, at the 6211:James McNeill Whistler 6166:James McNeill Whistler 6149:Walden, Sarah (2003). 6133:James McNeill Whistler 6021:Robins, Anna Gruetzner 5695:. London: Hutchinson. 5600:James McNeill Whistler 5322:James McNeill Whistler 5032:Walter Sickert: A Life 4676:March 5, 2005, at the 4483:James McNeill Whistler 3560:British History Online 2929:10.1093/ref:odnb/36855 2839:"Whistler's Butterfly" 2384:— the painter Elstir. 2381:In Search of Lost Time 2310: 2290: 2224: 2192:Rosalind Birnie Philip 2126:Dante Gabriel Rossetti 2067: 2032: 2017: 1999: 1987:Personal relationships 1983: 1963:Rosalind Birnie Philip 1840: 1768: 1739: 1677: 1656: 1612:"The Stones of Venice" 1590: 1574: 1548:Whistler: "If it were 1497: 1367: 1303: 1279:Faubourg Saint-Germain 1262: 1244: 1217: 1176: 1173:Whistler in his Studio 1161: 1095: 1044: 1025: 919: 870: 734: 722: 629:(later the teacher of 550: 407: 392:Wood Museum of History 365:St. Petersburg, Russia 36:James McNeill Whistler 7160:Harriet Beecher Stowe 7130:Franklin D. Roosevelt 6860:James Fenimore Cooper 6820:William Cullen Bryant 6795:Alexander Graham Bell 6590:Portrait of Lady Meux 6343:Florence Earle Coates 6334:Texts on Wikisource: 6164:Walker, John (1987). 6068:Sutherland, Daniel E. 5580:Denker, Eric (2003). 5516:Berman, Avis (1993). 5488:(February 21, 1885). 5432:Whistler: A Biography 3100:"Springfield Museums" 3038:www.whistlerhouse.org 2795:On October 27, 2010, 2641:etching on laid paper 2299: 2285: 2261:William Merritt Chase 2221:William Merritt Chase 2215: 2106:Antonio de La Gandara 2062: 2023: 2005: 1994: 1975: 1837:Cincinnati Art Museum 1831: 1788:Edward William Godwin 1757: 1734: 1659: 1645: 1579: 1529: 1480: 1355: 1295: 1254: 1239: 1226:William Merritt Chase 1209: 1171: 1123: 1086: 1042: 1010: 910: 859: 850:Further information: 797:The Little White Girl 728: 715: 541: 405: 322:Anna McNeill Whistler 318:Lowell, Massachusetts 183:Anna McNeill Whistler 68:Lowell, Massachusetts 7386:Neo-Jacobite Revival 7190:Booker T. Washington 7100:Alice Freeman Palmer 7080:William T. G. Morton 7025:James Russell Lowell 6430:Freer Gallery of Art 5726:Whistler and Holland 5114:"Supreme Outsider," 5097:A Catalogue Raisonné 3981:on December 16, 2013 3627:on February 19, 2008 3485:on September 5, 2013 3136:Robin Spencer, ed., 3016:New England Magazine 2813:John Wharlton Bunney 2323:Gilbert and Sullivan 2277:Arthur Frank Mathews 2255:was his friend. His 2014:Freer Gallery of Art 1771:Whistler joined the 1764:, 1887, etching and 1424:Freer Gallery of Art 1375:Anglo-Japanese style 1104:Chicago World's Fair 1074:Bullwinkle the Moose 662:Realism art movement 547:Freer Gallery of Art 462:Pomfret, Connecticut 412:Nicholas I of Russia 7205:George Westinghouse 7175:Henry David Thoreau 7085:John Lothrop Motley 7060:Albert A. Michelson 6940:Nathaniel Hawthorne 6890:Ralph Waldo Emerson 6875:James Buchanan Eads 5547:Cox, Devon (2015). 5137:, October 24, 1991. 5116:The New York Review 4649:, pp. 374–384. 4577:, pp. 308–373. 4565:, pp. 327–328. 4326:, pp. 233–234. 4272:Library of Congress 4270:. 1908 – via 4266:Library of Congress 3464:, p. 106, 119. 3293:on January 14, 2009 3012:"Whistler's Father" 2726:The Canal Amsterdam 2713:watercolor on linen 2269:Willis Seaver Adams 2265:Henry Salem Hubbell 2243:glorious harmony". 2090:Henri Fantin-Latour 1959:Library of Congress 1416:his Detroit mansion 1391:Catherine of Aragon 1222:John Singer Sargent 1183:(historian, 1873), 1175:1865, self-portrait 951:Franco-Prussian War 852:Nocturne (painting) 820:Henri Fantin-Latour 631:John Singer Sargent 619:Henri Fantin-Latour 562:Art study in France 380:Stonington Railroad 341:Southern aristocrat 86:London, England, UK 7135:Theodore Roosevelt 7075:Samuel F. B. Morse 6935:Alexander Hamilton 6880:Thomas Alva Edison 6790:Henry Ward Beecher 6775:John James Audubon 5619:Fleming, Gordon H. 5612:Geneviève Lacambre 5469:Thorp, Nigel, ed. 5465:on April 19, 2015. 5405:Wedmore, Frederick 5273:Crossing the River 5175:"Léonore database" 4870:, pp. 99–100. 4124:Peters, pp. 51–52. 3804:MacDonald, p. 121. 3792:chicagotribune.com 3260:. March 23, 1953. 2672:Amsterdam Nocturne 2412:. He is buried at 2311: 2237:Aesthetic Movement 2225: 2188:John Birnie Philip 2164:L'Origine du monde 2128:, a member of the 2102:Les Chauves-Souris 2033: 2018: 2016:, Washington, D.C. 2000: 1984: 1967:Glasgow University 1938:in New York City. 1845:Charles Lang Freer 1841: 1839:, Cincinnati, Ohio 1769: 1723:art for art's sake 1657: 1591: 1550:A View of Cremorne 1513:Exchequer Division 1462:Edward Burne-Jones 1404:Charles Lang Freer 1368: 1304: 1263: 1218: 1177: 1096: 1045: 1026: 871: 768:The Woman in White 758:The Woman in White 735: 723: 646:Charles Baudelaire 551: 549:, Washington, D.C. 453:Sir William Boxall 408: 398:Russia and England 349:American Civil War 301:aesthetic theories 279:art for art's sake 202:, Bavaria, Germany 7263: 7262: 7195:George Washington 7150:John Philip Sousa 6985:Thomas J. Jackson 6975:Washington Irving 6920:William C. Gorgas 6905:Benjamin Franklin 6870:Charlotte Cushman 6755:John Quincy Adams 6704: 6703: 6696:Nocturne painting 6665:(model and lover) 6659:(model and lover) 6601:(1888–1900) 6528:Whistler's Mother 6249:Project Gutenberg 6206:Library resources 6125:978-1-5272-1775-1 6114:978-0-87633-276-4 6033:978-0-300-13545-9 6015:978-3-487-14630-0 5978:978-1-63936-491-6 5858:978-0-300-25450-1 5843:978-1-78130-022-0 5711:Whistler's Venice 5685:978-1-935623-29-8 5670:978-0-934686-09-9 5541:978-1-944038-43-4 5396:978-0-300-13545-9 5332:978-0-7651-9961-4 5282:978-1-84018-976-6 5266:978-0-7195-5027-0 5247:978-0-7867-0187-2 5177:. Culture.gouv.fr 5056:Sutherland (2014) 5044:Heidelberg School 4868:Sutherland (2014) 4623:Sutherland (2014) 4458:Sutherland (2014) 4044:on April 29, 2014 3945:, pp. 19–20. 3899:www.metmuseum.org 3816:, p. 36, 43. 3518:, p. 18, 24. 3477:Symphony in White 3243:, pp. 26–27. 2945:(Subscription or 2527:Valparaiso Harbor 2490:The Thames in Ice 2365:George du Maurier 2331:pokes fun at the 2281:Heidelberg School 2075:Stéphane Mallarmé 1891:Rue du Bac, Paris 1883:Whistler's Mother 1879:Stéphane Mallarmé 1813:Pall Mall Gazette 1458:Grosvenor Gallery 1259:, the Netherlands 1140:Leonardo da Vinci 1126:Whistler's Mother 1089:Whistler's Mother 1065:Whistler's Mother 1034:Whistler's Mother 1018:Whistler's Mother 1003:Whistler's Mother 996:Whistler's Mother 902:Frederick Leyland 875:Valparaíso, Chile 806:The Golden Screen 772:Salon des Refusés 702:The Thames in Ice 650:Théophile Gautier 625:, which included 435:Sir William Allan 297:Whistler's Mother 222: 221: 125:Whistler's Mother 16:(Redirected from 7398: 7311:American etchers 7035:Edward MacDowell 6990:Thomas Jefferson 6925:Ulysses S. Grant 6885:Jonathan Edwards 6855:Grover Cleveland 6770:Susan B. Anthony 6731: 6724: 6717: 6708: 6707: 6663:Joanna Hiffernan 6576: 6573: 6553: 6550: 6460: 6453: 6446: 6437: 6436: 6374: 6359: 6333: 6258:Internet Archive 6146: 6002: 5989:The Man Whistler 5985:Pearson, Hesketh 5951:Frick Collection 5706: 5656: 5636: 5596:Dorment, Richard 5562: 5466: 5447: 5435: 5424: 5412: 5400: 5344: 5315: 5304: 5293: 5259: 5221: 5220: 5218: 5216: 5205: 5199: 5193: 5187: 5186: 5184: 5182: 5171: 5165: 5164: 5162: 5160: 5145: 5139: 5129:Dorment, Richard 5126: 5120: 5107: 5101: 5092: 5086: 5081: 5075: 5068: 5059: 5053: 5047: 5041: 5035: 5028: 5022: 5016: 5010: 5007: 5001: 5000: 4993: 4987: 4986: 4984: 4982: 4971: 4965: 4964: 4962: 4960: 4949: 4940: 4933: 4927: 4924: 4918: 4917: 4915: 4913: 4898: 4892: 4889:Weintraub (1974) 4886: 4880: 4877: 4871: 4865: 4859: 4853: 4847: 4841: 4835: 4834: 4832: 4830: 4819: 4813: 4810: 4804: 4798: 4789: 4783: 4777: 4771: 4765: 4762: 4756: 4753: 4747: 4741: 4735: 4729: 4723: 4717: 4711: 4710: 4699: 4693: 4692:, p. 62-63. 4687: 4681: 4668: 4662: 4656: 4650: 4647:Weintraub (1974) 4644: 4638: 4632: 4626: 4620: 4614: 4608: 4602: 4596: 4590: 4584: 4578: 4575:Weintraub (1974) 4572: 4566: 4563:Weintraub (1974) 4560: 4547: 4544:Weintraub (1974) 4541: 4535: 4534: 4532: 4530: 4521:. Archived from 4511: 4505: 4499: 4493: 4479: 4473: 4467: 4461: 4455: 4449: 4448: 4428: 4422: 4416: 4410: 4404: 4398: 4392: 4386: 4380: 4369: 4363: 4357: 4351: 4342: 4336: 4327: 4321: 4315: 4309: 4303: 4297: 4291: 4285: 4276: 4275: 4260: 4254: 4253: 4251: 4249: 4234: 4228: 4222: 4216: 4210: 4204: 4203: 4201: 4199: 4176: 4170: 4157: 4151: 4150: 4148: 4146: 4141:on March 6, 2008 4131: 4125: 4122: 4116: 4109: 4103: 4096: 4090: 4084: 4078: 4072: 4066: 4060: 4054: 4053: 4051: 4049: 4034: 4028: 4027: 4025: 4023: 4015:The Peacock Room 4013:"Freer Gallery, 4009: 4003: 3997: 3991: 3990: 3988: 3986: 3971: 3965: 3959: 3946: 3940: 3934: 3928: 3922: 3916: 3910: 3909: 3907: 3905: 3891: 3885: 3879: 3873: 3861:Spencer, Robin, 3859: 3853: 3847: 3841: 3835: 3829: 3823: 3817: 3811: 3805: 3802: 3796: 3795: 3783: 3777: 3774: 3768: 3765: 3759: 3745: 3739: 3733: 3724: 3718: 3712: 3706: 3697: 3694: 3688: 3682: 3676: 3670: 3664: 3658: 3652: 3646: 3637: 3636: 3634: 3632: 3617: 3611: 3605: 3596: 3590: 3584: 3578: 3572: 3571: 3569: 3567: 3552: 3546: 3540: 3531: 3525: 3519: 3513: 3507: 3501: 3495: 3494: 3492: 3490: 3471: 3465: 3459: 3453: 3447: 3441: 3435: 3429: 3423: 3414: 3408: 3399: 3393: 3387: 3381: 3375: 3369: 3363: 3357: 3351: 3345: 3339: 3333: 3327: 3321: 3315: 3309: 3303: 3302: 3300: 3298: 3283: 3277: 3276: 3274: 3272: 3250: 3244: 3238: 3232: 3226: 3220: 3214: 3199: 3193: 3187: 3186: 3178: 3172: 3171:, p. 18-20. 3166: 3160: 3154: 3148: 3134: 3128: 3122: 3116: 3115: 3113: 3111: 3102:. Archived from 3096: 3090: 3089: 3077: 3071: 3065: 3059: 3053: 3042: 3041: 3030: 3024: 3023: 3007: 2998: 2997: 2986: 2977: 2970: 2964: 2957: 2951: 2950: 2942: 2916: 2902: 2896: 2890: 2879: 2878: 2876: 2874: 2869:on July 18, 2012 2859: 2853: 2852: 2850: 2848: 2843: 2834: 2818:Western painting 2776: 2758: 2740: 2722: 2704: 2686: 2668: 2650: 2632: 2614: 2596: 2578: 2560: 2542: 2522: 2504: 2486: 2477:etching on paper 2468: 2452:Battersea Bridge 2437:Légion d'honneur 2153:Joanna Hiffernan 1979:Joanna Hiffernan 1843:In 1890, he met 1800:Henry Labouchère 1668:Anna Lea Merritt 1540:Cremorne Gardens 1521:Baron Huddleston 1491:ask two hundred 1420:The Peacock Room 1361:The Peacock Room 1348:The Peacock Room 1341:The Peacock Room 1115:Peter Schjeldahl 1100:Great Depression 1063:From the start, 981:Camille Pissarro 956:His good friend 947:Paul Durand-Ruel 886:Cremorne Gardens 745:Joanna Hiffernan 608: 260: 259: 256: 255: 252: 249: 246: 243: 240: 231: 207:Légion d'honneur 164: 162: 120: 82: 46: 32: 31: 21: 7406: 7405: 7401: 7400: 7399: 7397: 7396: 7395: 7266: 7265: 7264: 7259: 7235:Frances Willard 7170:Sylvanus Thayer 7120:Edgar Allan Poe 7105:Francis Parkman 7015:Abraham Lincoln 6995:John Paul Jones 6915:Josiah W. Gibbs 6830:Andrew Carnegie 6815:Phillips Brooks 6780:George Bancroft 6741: 6735: 6705: 6700: 6684: 6668: 6629: 6623: 6604: 6585:(1876–77) 6574: 6551: 6515:(1865–67) 6507:(1864–65) 6499:(1863–65) 6469: 6464: 6362: 6347: 6285:Wayback Machine 6231: 6230: 6229: 6214: 6213: 6209: 6202: 6143: 5999: 5703: 5653: 5633: 5559: 5498: 5496:Further reading 5457: 5454: 5452:Primary sources 5444: 5397: 5333: 5283: 5248: 5230: 5225: 5224: 5214: 5212: 5207: 5206: 5202: 5194: 5190: 5180: 5178: 5173: 5172: 5168: 5158: 5156: 5155:. April 1, 2020 5147: 5146: 5142: 5127: 5123: 5108: 5104: 5093: 5089: 5082: 5078: 5069: 5062: 5054: 5050: 5042: 5038: 5029: 5025: 5017: 5013: 5008: 5004: 4995: 4994: 4990: 4980: 4978: 4973: 4972: 4968: 4958: 4956: 4951: 4950: 4943: 4934: 4930: 4925: 4921: 4911: 4909: 4900: 4899: 4895: 4887: 4883: 4879:Spencer, p. 88. 4878: 4874: 4866: 4862: 4854: 4850: 4842: 4838: 4828: 4826: 4821: 4820: 4816: 4811: 4807: 4799: 4792: 4784: 4780: 4772: 4768: 4763: 4759: 4754: 4750: 4742: 4738: 4730: 4726: 4718: 4714: 4701: 4700: 4696: 4688: 4684: 4678:Wayback Machine 4669: 4665: 4657: 4653: 4645: 4641: 4633: 4629: 4621: 4617: 4609: 4605: 4597: 4593: 4585: 4581: 4573: 4569: 4561: 4550: 4542: 4538: 4528: 4526: 4525:on July 4, 2015 4513: 4512: 4508: 4500: 4496: 4480: 4476: 4468: 4464: 4456: 4452: 4445: 4429: 4425: 4417: 4413: 4405: 4401: 4393: 4389: 4381: 4372: 4364: 4360: 4352: 4345: 4337: 4330: 4322: 4318: 4310: 4306: 4298: 4294: 4286: 4279: 4262: 4261: 4257: 4247: 4245: 4236: 4235: 4231: 4223: 4219: 4211: 4207: 4197: 4195: 4193: 4177: 4173: 4158: 4154: 4144: 4142: 4133: 4132: 4128: 4123: 4119: 4110: 4106: 4098:Whistler, 2–5; 4097: 4093: 4085: 4081: 4073: 4069: 4061: 4057: 4047: 4045: 4036: 4035: 4031: 4021: 4019: 4011: 4010: 4006: 3998: 3994: 3984: 3982: 3973: 3972: 3968: 3960: 3949: 3941: 3937: 3929: 3925: 3917: 3913: 3903: 3901: 3893: 3892: 3888: 3880: 3876: 3860: 3856: 3848: 3844: 3836: 3832: 3824: 3820: 3812: 3808: 3803: 3799: 3784: 3780: 3775: 3771: 3766: 3762: 3746: 3742: 3734: 3727: 3719: 3715: 3707: 3700: 3695: 3691: 3683: 3679: 3671: 3667: 3659: 3655: 3647: 3640: 3630: 3628: 3619: 3618: 3614: 3606: 3599: 3591: 3587: 3579: 3575: 3565: 3563: 3554: 3553: 3549: 3541: 3534: 3526: 3522: 3514: 3510: 3502: 3498: 3488: 3486: 3473: 3472: 3468: 3460: 3456: 3448: 3444: 3436: 3432: 3424: 3417: 3409: 3402: 3394: 3390: 3382: 3378: 3370: 3366: 3358: 3354: 3346: 3342: 3334: 3330: 3322: 3318: 3310: 3306: 3296: 3294: 3285: 3284: 3280: 3270: 3268: 3252: 3251: 3247: 3239: 3235: 3227: 3223: 3215: 3202: 3194: 3190: 3179: 3175: 3167: 3163: 3155: 3151: 3135: 3131: 3123: 3119: 3109: 3107: 3098: 3097: 3093: 3078: 3074: 3066: 3062: 3054: 3045: 3032: 3031: 3027: 3008: 3001: 2988: 2987: 2980: 2971: 2967: 2958: 2954: 2944: 2939: 2903: 2899: 2891: 2882: 2872: 2870: 2861: 2860: 2856: 2846: 2844: 2841: 2835: 2831: 2826: 2809: 2797:Swann Galleries 2793: 2791:Auction records 2786: 2784: 2782: 2777: 2768: 2766: 2764: 2759: 2750: 2748: 2746: 2741: 2732: 2730: 2728: 2723: 2714: 2712: 2710: 2705: 2696: 2694: 2692: 2687: 2678: 2676: 2674: 2669: 2660: 2658: 2656: 2651: 2642: 2640: 2638: 2633: 2624: 2622: 2620: 2615: 2606: 2604: 2602: 2597: 2588: 2586: 2584: 2579: 2570: 2568: 2566: 2561: 2552: 2550: 2548: 2543: 2534: 2532: 2530: 2523: 2514: 2512: 2510: 2505: 2496: 2494: 2492: 2487: 2478: 2476: 2474: 2469: 2460: 2422: 2358:The Ambassadors 2352:The Tragic Muse 2346:Roderick Hudson 2309: 2304: 2210: 2108:. He also knew 2098:Gustave Courbet 2094:Alphonse Legros 2083:Charles Whibley 2029:Beatrice Godwin 1989: 1855:lithographs to 1784:Beatrice Godwin 1678: 1640: 1586: 1501:George Boughton 1470:J. M. W. Turner 1466:Pre-Raphaelites 1444: 1350: 1344: 1325: 1249: 1235: 1166: 1164:Other portraits 1135:American Gothic 1119:Martha Tedeschi 1094: 1091: 1005: 999: 977: 854: 848: 843: 827:Chelsea, London 813:Gustave Courbet 710: 658: 635:Alphonse Legros 623:Gustave Courbet 602: 600:Auguste Delâtre 596:Ernest Delannoy 564: 520: 487:nearsightedness 474: 439:Peter the Great 400: 357: 314: 309: 237: 233: 227: 218: 187: 166: 158: 154: 151: 149:Beatrice Godwin 118: 87: 84: 80: 71: 65: 56: 51: 37: 28: 23: 22: 15: 12: 11: 5: 7404: 7394: 7393: 7388: 7383: 7378: 7373: 7368: 7363: 7358: 7353: 7348: 7343: 7338: 7333: 7331:Artist authors 7328: 7323: 7318: 7313: 7308: 7303: 7298: 7293: 7288: 7283: 7278: 7261: 7260: 7258: 7257: 7252: 7250:Orville Wright 7247: 7245:Woodrow Wilson 7242: 7240:Roger Williams 7237: 7232: 7227: 7222: 7217: 7212: 7207: 7202: 7200:Daniel Webster 7197: 7192: 7187: 7182: 7177: 7172: 7167: 7165:Gilbert Stuart 7162: 7157: 7152: 7147: 7142: 7137: 7132: 7127: 7122: 7117: 7112: 7110:George Peabody 7107: 7102: 7097: 7092: 7087: 7082: 7077: 7072: 7067: 7065:Maria Mitchell 7062: 7057: 7052: 7047: 7042: 7037: 7032: 7027: 7022: 7017: 7012: 7007: 7002: 6997: 6992: 6987: 6982: 6980:Andrew Jackson 6977: 6972: 6967: 6962: 6957: 6952: 6947: 6942: 6937: 6932: 6927: 6922: 6917: 6912: 6907: 6902: 6900:Stephen Foster 6897: 6895:David Farragut 6892: 6887: 6882: 6877: 6872: 6867: 6862: 6857: 6852: 6847: 6842: 6837: 6832: 6827: 6825:Luther Burbank 6822: 6817: 6812: 6810:Louis Brandeis 6807: 6802: 6797: 6792: 6787: 6782: 6777: 6772: 6767: 6762: 6757: 6752: 6746: 6743: 6742: 6734: 6733: 6726: 6719: 6711: 6702: 6701: 6699: 6698: 6692: 6690: 6686: 6685: 6683: 6682: 6676: 6674: 6670: 6669: 6667: 6666: 6660: 6654: 6649: 6644: 6639: 6633: 6631: 6625: 6624: 6622: 6621: 6612: 6610: 6606: 6605: 6603: 6602: 6594: 6586: 6578: 6563: 6555: 6540: 6532: 6524: 6516: 6508: 6500: 6492: 6484: 6477: 6475: 6471: 6470: 6463: 6462: 6455: 6448: 6440: 6434: 6433: 6423: 6413: 6405: 6397: 6382: 6377: 6376: 6375: 6360: 6345: 6324: 6315: 6310: 6305: 6299: 6294: 6288: 6275: 6269: 6260: 6251: 6242: 6228: 6227: 6222: 6216: 6215: 6204: 6203: 6201: 6200:External links 6198: 6197: 6196: 6181: 6178:978-0810917866 6162: 6147: 6141: 6128: 6117: 6093: 6083: 6080:978-0300229684 6065: 6058: 6043: 6036: 6018: 6003: 5997: 5981: 5966: 5939:Munhall, Edgar 5936: 5921: 5906: 5891: 5876: 5873:978-0972848411 5861: 5846: 5831: 5816: 5801: 5786: 5771: 5766:, ed. (1975). 5761: 5751: 5737: 5722: 5707: 5701: 5688: 5673: 5658: 5651: 5638: 5631: 5615: 5593: 5578: 5563: 5557: 5544: 5529: 5514: 5497: 5494: 5493: 5492: 5483: 5474: 5467: 5453: 5450: 5449: 5448: 5442: 5425: 5415:Chisholm, Hugh 5401: 5395: 5382: 5368: 5354: 5331: 5316: 5305: 5294: 5281: 5268: 5246: 5229: 5226: 5223: 5222: 5200: 5198:, p. 122. 5188: 5166: 5140: 5121: 5118:, May 25, 1995 5102: 5087: 5076: 5060: 5058:, p. 268. 5048: 5036: 5023: 5021:, p. 106. 5011: 5002: 4988: 4966: 4941: 4928: 4919: 4893: 4881: 4872: 4860: 4848: 4846:, p. 289. 4836: 4814: 4805: 4803:, p. 203. 4790: 4788:, p. 204. 4778: 4776:, p. 240. 4766: 4757: 4748: 4736: 4734:, p. 457. 4724: 4712: 4694: 4682: 4663: 4661:, p. 357. 4651: 4639: 4637:, p. 342. 4627: 4625:, p. 247. 4615: 4613:, p. 324. 4603: 4601:, p. 321. 4591: 4579: 4567: 4548: 4546:, p. 323. 4536: 4506: 4504:, p. 273. 4494: 4474: 4472:, p. 314. 4462: 4460:, p. 241. 4450: 4443: 4423: 4421:, p. 271. 4411: 4409:, p. 270. 4399: 4397:, p. 256. 4387: 4370: 4368:, p. 242. 4358: 4343: 4328: 4316: 4314:, p. 232. 4304: 4302:, p. 230. 4292: 4290:, p. 228. 4277: 4255: 4229: 4227:, p. 210. 4217: 4215:, p. 227. 4205: 4191: 4171: 4152: 4126: 4117: 4104: 4091: 4089:, p. 217. 4079: 4077:, p. 216. 4067: 4065:, p. 215. 4055: 4029: 4004: 3992: 3966: 3947: 3935: 3923: 3921:, p. 311. 3911: 3886: 3884:, p. 596. 3874: 3854: 3852:, p. 199. 3842: 3840:, p. 275. 3830: 3828:, p. 197. 3818: 3806: 3797: 3778: 3769: 3760: 3740: 3738:, p. 183. 3725: 3713: 3711:, p. 180. 3698: 3689: 3687:, p. 179. 3677: 3675:, p. 194. 3665: 3663:, p. 192. 3653: 3651:, p. 191. 3638: 3612: 3610:, p. 186. 3597: 3595:, p. 187. 3585: 3573: 3547: 3545:, p. 141. 3532: 3520: 3508: 3496: 3466: 3454: 3442: 3430: 3415: 3400: 3388: 3376: 3364: 3352: 3340: 3328: 3316: 3304: 3278: 3245: 3233: 3221: 3200: 3188: 3173: 3161: 3149: 3129: 3117: 3106:on May 3, 2015 3091: 3072: 3060: 3043: 3025: 2999: 2978: 2965: 2952: 2937: 2897: 2880: 2854: 2828: 2827: 2825: 2822: 2821: 2820: 2815: 2808: 2805: 2792: 2789: 2788: 2787: 2778: 2771: 2769: 2760: 2753: 2751: 2742: 2735: 2733: 2724: 2717: 2715: 2706: 2699: 2697: 2690:An Orange Note 2688: 2681: 2679: 2670: 2663: 2661: 2652: 2645: 2643: 2634: 2627: 2625: 2616: 2609: 2607: 2598: 2591: 2589: 2580: 2573: 2571: 2562: 2555: 2553: 2544: 2537: 2535: 2524: 2517: 2515: 2506: 2499: 2497: 2488: 2481: 2479: 2470: 2463: 2459: 2456: 2448: 2447: 2440: 2433: 2421: 2418: 2367:'s 1894 novel 2300: 2249:Walter Sickert 2209: 2206: 2149:The White Girl 2114:Impressionists 1998:, full version 1988: 1985: 1951:Joseph Pennell 1868:Herbert Vivian 1853:Songs of Stone 1796:Louise Jopling 1743:Herbert Vivian 1698:Frank Duveneck 1658: 1639: 1636: 1484:Coutts Lindsay 1475:Fors Clavigera 1443: 1440: 1383:Thomas Jeckyll 1346:Main article: 1343: 1338: 1329:potter's marks 1324: 1321: 1248: 1245: 1234: 1231: 1193:Théodore Duret 1181:Thomas Carlyle 1165: 1162: 1092: 1087: 1058:William Boxall 1001:Main article: 998: 993: 976: 973: 847: 844: 842: 839: 763:Pre-Raphaelite 753:Wilkie Collins 731:Etienne Carjat 709: 706: 666:La Mère Gérard 657: 654: 580:Impressionists 572:Charles Gleyre 563: 560: 519: 516: 501:Robert W. Weir 473: 470: 416:Canton Viaduct 399: 396: 356: 353: 345:Southern cause 337:American South 313: 310: 308: 305: 275:sentimentality 220: 219: 217: 216: 210: 203: 195: 193: 189: 188: 186: 185: 180: 174: 172: 168: 167: 156: 152: 147: 146: 144: 140: 139: 133: 129: 128: 121: 115: 114: 111: 110:Known for 107: 106: 101: 97: 96: 93: 89: 88: 85: 83:(aged 69) 77: 73: 72: 66: 62: 58: 57: 47: 39: 38: 35: 26: 18:James Whistler 9: 6: 4: 3: 2: 7403: 7392: 7389: 7387: 7384: 7382: 7379: 7377: 7374: 7372: 7369: 7367: 7364: 7362: 7359: 7357: 7354: 7352: 7349: 7347: 7344: 7342: 7339: 7337: 7334: 7332: 7329: 7327: 7324: 7322: 7319: 7317: 7314: 7312: 7309: 7307: 7304: 7302: 7299: 7297: 7294: 7292: 7289: 7287: 7284: 7282: 7279: 7277: 7274: 7273: 7271: 7256: 7255:Wilbur Wright 7253: 7251: 7248: 7246: 7243: 7241: 7238: 7236: 7233: 7231: 7228: 7226: 7223: 7221: 7218: 7216: 7213: 7211: 7208: 7206: 7203: 7201: 7198: 7196: 7193: 7191: 7188: 7186: 7183: 7181: 7178: 7176: 7173: 7171: 7168: 7166: 7163: 7161: 7158: 7156: 7153: 7151: 7148: 7146: 7143: 7141: 7138: 7136: 7133: 7131: 7128: 7126: 7123: 7121: 7118: 7116: 7113: 7111: 7108: 7106: 7103: 7101: 7098: 7096: 7093: 7091: 7090:Simon Newcomb 7088: 7086: 7083: 7081: 7078: 7076: 7073: 7071: 7068: 7066: 7063: 7061: 7058: 7056: 7053: 7051: 7050:John Marshall 7048: 7046: 7043: 7041: 7040:James Madison 7038: 7036: 7033: 7031: 7028: 7026: 7023: 7021: 7018: 7016: 7013: 7011: 7010:Robert E. Lee 7008: 7006: 7005:Sidney Lanier 7003: 7001: 6998: 6996: 6993: 6991: 6988: 6986: 6983: 6981: 6978: 6976: 6973: 6971: 6968: 6966: 6963: 6961: 6958: 6956: 6953: 6951: 6950:Patrick Henry 6948: 6946: 6943: 6941: 6938: 6936: 6933: 6931: 6928: 6926: 6923: 6921: 6918: 6916: 6913: 6911: 6910:Robert Fulton 6908: 6906: 6903: 6901: 6898: 6896: 6893: 6891: 6888: 6886: 6883: 6881: 6878: 6876: 6873: 6871: 6868: 6866: 6863: 6861: 6858: 6856: 6853: 6851: 6848: 6846: 6843: 6841: 6838: 6836: 6833: 6831: 6828: 6826: 6823: 6821: 6818: 6816: 6813: 6811: 6808: 6806: 6803: 6801: 6798: 6796: 6793: 6791: 6788: 6786: 6783: 6781: 6778: 6776: 6773: 6771: 6768: 6766: 6765:Louis Agassiz 6763: 6761: 6758: 6756: 6753: 6751: 6748: 6747: 6744: 6739: 6732: 6727: 6725: 6720: 6718: 6713: 6712: 6709: 6697: 6694: 6693: 6691: 6687: 6681: 6678: 6677: 6675: 6671: 6664: 6661: 6658: 6657:Maud Franklin 6655: 6653: 6650: 6648: 6645: 6643: 6640: 6638: 6635: 6634: 6632: 6630:relationships 6626: 6619: 6618: 6614: 6613: 6611: 6607: 6600: 6599: 6595: 6592: 6591: 6587: 6584: 6583: 6579: 6569: 6568: 6564: 6561: 6560: 6556: 6546: 6545: 6541: 6538: 6537: 6533: 6530: 6529: 6525: 6522: 6521: 6517: 6514: 6513: 6509: 6506: 6505: 6501: 6498: 6497: 6493: 6490: 6489: 6485: 6482: 6479: 6478: 6476: 6472: 6468: 6461: 6456: 6454: 6449: 6447: 6442: 6441: 6438: 6431: 6427: 6424: 6421: 6417: 6414: 6412: 6410: 6406: 6404: 6402: 6398: 6395: 6394: 6389: 6388: 6383: 6381: 6378: 6372: 6371: 6366: 6361: 6357: 6356: 6351: 6346: 6344: 6340: 6336: 6335: 6332: 6328: 6325: 6323: 6319: 6316: 6314: 6311: 6309: 6306: 6303: 6300: 6298: 6295: 6292: 6289: 6286: 6282: 6279: 6276: 6273: 6270: 6268: 6264: 6261: 6259: 6255: 6252: 6250: 6246: 6243: 6240: 6236: 6233: 6232: 6226: 6223: 6221: 6218: 6217: 6212: 6207: 6194: 6193:0-300-02384-7 6190: 6186: 6182: 6179: 6175: 6171: 6167: 6163: 6160: 6156: 6152: 6148: 6144: 6142:0-289-70836-2 6138: 6134: 6129: 6126: 6122: 6118: 6115: 6111: 6107: 6106: 6101: 6099: 6094: 6091: 6087: 6086:Sutton, Denys 6084: 6081: 6077: 6073: 6069: 6066: 6063: 6059: 6056: 6055:0-517-05773-5 6052: 6048: 6044: 6041: 6037: 6034: 6030: 6026: 6022: 6019: 6016: 6012: 6008: 6004: 6000: 5998:0-354-04224-6 5994: 5990: 5986: 5982: 5979: 5975: 5971: 5967: 5964: 5963:2-08013-578-3 5960: 5956: 5952: 5948: 5946: 5943:Whistler and 5940: 5937: 5934: 5933:0-300-10125-2 5930: 5926: 5922: 5919: 5918:1-56282-327-2 5915: 5911: 5907: 5904: 5903:0-300-07611-8 5900: 5896: 5892: 5889: 5888:1-56098-300-0 5885: 5881: 5877: 5874: 5870: 5866: 5862: 5859: 5855: 5851: 5847: 5844: 5840: 5836: 5832: 5829: 5828:0-300-09906-1 5825: 5821: 5817: 5814: 5813:0-85331-856-5 5810: 5806: 5802: 5799: 5798:0-520-23049-3 5795: 5791: 5787: 5784: 5783:0-300-03283-8 5780: 5776: 5772: 5769: 5765: 5762: 5759: 5755: 5752: 5749: 5745: 5744:Fleming, John 5741: 5738: 5735: 5734:90-400-9183-8 5731: 5727: 5723: 5720: 5719:0-300-08449-8 5716: 5712: 5708: 5704: 5702:0-04-927009-5 5698: 5694: 5689: 5686: 5682: 5678: 5674: 5671: 5667: 5663: 5659: 5654: 5652:0-04-927009-5 5648: 5644: 5639: 5634: 5632:0-900075-61-9 5628: 5624: 5620: 5616: 5613: 5609: 5608:1-85437-145-2 5605: 5601: 5597: 5594: 5591: 5590:1-85894-200-4 5587: 5583: 5579: 5576: 5575:9780393018479 5572: 5568: 5564: 5560: 5558:9780711236738 5554: 5550: 5545: 5542: 5538: 5534: 5530: 5527: 5526:0-8109-3968-1 5523: 5519: 5515: 5512: 5511:1-56098-415-5 5508: 5504: 5500: 5499: 5491: 5487: 5484: 5481: 5480: 5475: 5472: 5468: 5464: 5460: 5456: 5455: 5445: 5443:0-679-40099-0 5439: 5434: 5433: 5426: 5422: 5421: 5416: 5411: 5406: 5402: 5398: 5392: 5388: 5383: 5381: 5380:1-85170-904-5 5377: 5373: 5369: 5367: 5366:1-85177-338-X 5363: 5359: 5355: 5352: 5351:1-880908-70-0 5348: 5342: 5338: 5334: 5328: 5324: 5323: 5317: 5313: 5312: 5306: 5302: 5301: 5295: 5292: 5288: 5284: 5278: 5274: 5269: 5267: 5263: 5257: 5253: 5249: 5243: 5239: 5238: 5232: 5231: 5210: 5204: 5197: 5192: 5176: 5170: 5154: 5150: 5144: 5138: 5136: 5130: 5125: 5119: 5117: 5111: 5110:Golding, John 5106: 5100: 5098: 5091: 5085: 5080: 5073: 5067: 5065: 5057: 5052: 5045: 5040: 5033: 5027: 5020: 5015: 5006: 4998: 4992: 4976: 4970: 4954: 4948: 4946: 4938: 4932: 4923: 4907: 4903: 4897: 4890: 4885: 4876: 4869: 4864: 4858:, p. 43. 4857: 4852: 4845: 4840: 4824: 4818: 4809: 4802: 4797: 4795: 4787: 4782: 4775: 4770: 4761: 4752: 4745: 4740: 4733: 4728: 4722:, p. 63. 4721: 4720:Peters (1996) 4716: 4708: 4704: 4698: 4691: 4690:Peters (1996) 4686: 4679: 4675: 4672: 4667: 4660: 4655: 4648: 4643: 4636: 4631: 4624: 4619: 4612: 4607: 4600: 4595: 4589:, p. 60. 4588: 4587:Peters (1996) 4583: 4576: 4571: 4564: 4559: 4557: 4555: 4553: 4545: 4540: 4524: 4520: 4516: 4510: 4503: 4498: 4492: 4491:0-89468-212-1 4488: 4484: 4478: 4471: 4466: 4459: 4454: 4446: 4444:9780804151122 4440: 4436: 4435: 4427: 4420: 4415: 4408: 4403: 4396: 4391: 4385:, p. 57. 4384: 4383:Peters (1996) 4379: 4377: 4375: 4367: 4362: 4356:, p. 55. 4355: 4354:Peters (1996) 4350: 4348: 4341:, p. 54. 4340: 4339:Peters (1996) 4335: 4333: 4325: 4320: 4313: 4308: 4301: 4296: 4289: 4284: 4282: 4273: 4269: 4267: 4259: 4243: 4241: 4233: 4226: 4221: 4214: 4209: 4194: 4192:9780486218755 4188: 4184: 4183: 4175: 4169: 4166: 4162: 4156: 4140: 4136: 4130: 4121: 4114: 4108: 4101: 4095: 4088: 4083: 4076: 4071: 4064: 4059: 4043: 4039: 4033: 4018: 4016: 4008: 4002:, p. 37. 4001: 4000:Peters (1996) 3996: 3980: 3976: 3970: 3963: 3962:Peters (1996) 3958: 3956: 3954: 3952: 3944: 3943:Hardie (1921) 3939: 3933:, p. 18. 3932: 3931:Hardie (1921) 3927: 3920: 3915: 3900: 3896: 3895:"The Doorway" 3890: 3883: 3878: 3872: 3871:1-85170-904-5 3868: 3864: 3858: 3851: 3846: 3839: 3834: 3827: 3822: 3815: 3814:Peters (1996) 3810: 3801: 3793: 3789: 3782: 3773: 3764: 3758: 3757:0-85331-856-5 3754: 3750: 3744: 3737: 3732: 3730: 3723:, p. 34. 3722: 3721:Peters (1996) 3717: 3710: 3705: 3703: 3693: 3686: 3681: 3674: 3669: 3662: 3657: 3650: 3645: 3643: 3626: 3622: 3616: 3609: 3604: 3602: 3594: 3589: 3583:, p. 30. 3582: 3581:Peters (1996) 3577: 3561: 3557: 3551: 3544: 3539: 3537: 3530:, p. 19. 3529: 3528:Peters (1996) 3524: 3517: 3516:Peters (1996) 3512: 3506:, p. 17. 3505: 3504:Peters (1996) 3500: 3484: 3480: 3478: 3470: 3463: 3458: 3452:, p. 15. 3451: 3450:Peters (1996) 3446: 3440:, p. 14. 3439: 3438:Peters (1996) 3434: 3428:, p. 90. 3427: 3422: 3420: 3413:, p. 13. 3412: 3411:Peters (1996) 3407: 3405: 3398:, p. 48. 3397: 3392: 3386:, p. 60. 3385: 3380: 3374:, p. 52. 3373: 3368: 3362:, p. 50. 3361: 3356: 3350:, p. 47. 3349: 3344: 3338:, p. 38. 3337: 3332: 3326:, p. 36. 3325: 3320: 3314:, p. 35. 3313: 3308: 3292: 3288: 3282: 3267: 3263: 3259: 3255: 3249: 3242: 3237: 3231:, p. 24. 3230: 3225: 3219:, p. 12. 3218: 3217:Peters (1996) 3213: 3211: 3209: 3207: 3205: 3198:, p. 23. 3197: 3192: 3184: 3177: 3170: 3165: 3159:, p. 20. 3158: 3153: 3147: 3146:0-517-05773-5 3143: 3139: 3133: 3127:, p. 11. 3126: 3121: 3105: 3101: 3095: 3087: 3083: 3076: 3069: 3064: 3058:, p. 11. 3057: 3056:Peters (1996) 3052: 3050: 3048: 3039: 3035: 3029: 3021: 3017: 3013: 3006: 3004: 2995: 2991: 2985: 2983: 2975: 2969: 2962: 2956: 2948: 2940: 2938:9780198614128 2934: 2930: 2926: 2922: 2921: 2915: 2914: 2908: 2901: 2894: 2893:Peters (1996) 2889: 2887: 2885: 2868: 2864: 2858: 2840: 2833: 2829: 2819: 2816: 2814: 2811: 2810: 2804: 2802: 2798: 2785:oil on canvas 2781: 2775: 2770: 2767:oil on canvas 2763: 2757: 2752: 2745: 2739: 2734: 2727: 2721: 2716: 2709: 2703: 2698: 2691: 2685: 2680: 2673: 2667: 2662: 2659:oil on canvas 2655: 2649: 2644: 2637: 2631: 2626: 2623:oil on canvas 2619: 2613: 2608: 2605:oil on canvas 2601: 2595: 2590: 2587:oil on canvas 2583: 2577: 2572: 2569:oil on canvas 2565: 2559: 2554: 2551:oil on canvas 2547: 2541: 2536: 2533:oil on canvas 2529: 2528: 2521: 2516: 2513:oil on canvas 2509: 2503: 2498: 2495:oil on canvas 2491: 2485: 2480: 2473: 2467: 2462: 2461: 2455: 2453: 2445: 2441: 2438: 2434: 2431: 2427: 2426: 2425: 2417: 2415: 2411: 2406: 2404: 2403: 2398: 2394: 2390: 2385: 2383: 2382: 2377: 2376:Marcel Proust 2372: 2371: 2366: 2362: 2360: 2359: 2354: 2353: 2348: 2347: 2342: 2337: 2334: 2330: 2329: 2324: 2319: 2317: 2308: 2307:Issue of 1940 2303: 2298: 2294: 2289: 2284: 2282: 2278: 2274: 2270: 2266: 2262: 2258: 2254: 2250: 2244: 2240: 2238: 2234: 2230: 2222: 2218: 2214: 2205: 2203: 2202: 2197: 2196:Ethel Whibley 2193: 2189: 2185: 2181: 2176: 2172: 2168: 2166: 2165: 2160: 2159: 2154: 2150: 2145: 2143: 2139: 2138:Ignace Schott 2135: 2131: 2127: 2123: 2119: 2115: 2111: 2110:Édouard Manet 2107: 2103: 2099: 2095: 2091: 2086: 2084: 2080: 2079:Marcel Schwob 2076: 2072: 2066: 2061: 2058: 2056: 2055: 2050: 2046: 2041: 2037: 2030: 2026: 2022: 2015: 2011: 2008: 2007:Maud Franklin 2004: 1997: 1993: 1981: 1980: 1974: 1970: 1968: 1964: 1960: 1956: 1952: 1947: 1945: 1939: 1937: 1933: 1928: 1926: 1922: 1918: 1913: 1911: 1907: 1903: 1902:Auguste Rodin 1898: 1896: 1892: 1886: 1884: 1880: 1875: 1873: 1869: 1865: 1861: 1859: 1858:The Whirlwind 1854: 1850: 1846: 1838: 1835:, 1883–1884, 1834: 1830: 1826: 1824: 1823: 1817: 1815: 1814: 1808: 1803: 1801: 1797: 1793: 1789: 1785: 1780: 1778: 1774: 1767: 1763: 1762: 1756: 1752: 1751:on Whistler. 1750: 1749: 1744: 1738: 1733: 1731: 1726: 1724: 1720: 1718: 1712: 1709: 1705: 1703: 1699: 1693: 1691: 1687: 1686:Maud Franklin 1683: 1676: 1674: 1670: 1669: 1665: 1654: 1653:Ethel Whibley 1650: 1649: 1644: 1635: 1633: 1632:The Gold Scab 1629: 1628: 1623: 1620: 1615: 1613: 1609: 1605: 1601: 1597: 1589: 1584: 1583: 1578: 1573: 1570: 1567: 1564: 1562: 1557: 1555: 1551: 1546: 1543: 1541: 1536: 1534: 1528: 1526: 1522: 1518: 1514: 1510: 1506: 1502: 1496: 1494: 1490: 1485: 1479: 1477: 1476: 1471: 1467: 1463: 1459: 1455: 1454: 1449: 1439: 1437: 1433: 1429: 1425: 1421: 1417: 1414:installed in 1413: 1409: 1405: 1401: 1400: 1394: 1392: 1386: 1384: 1378: 1376: 1372: 1366: 1362: 1359:, in situ in 1358: 1354: 1349: 1342: 1337: 1334: 1330: 1320: 1318: 1313: 1312:Martin Hardie 1309: 1302: 1298: 1294: 1290: 1288: 1284: 1280: 1276: 1272: 1268: 1260: 1258: 1253: 1243: 1238: 1230: 1227: 1223: 1216: 1212: 1208: 1204: 1201: 1196: 1194: 1190: 1186: 1185:Maud Franklin 1182: 1174: 1170: 1160: 1157: 1156: 1151: 1147: 1146: 1141: 1137: 1136: 1131: 1127: 1122: 1120: 1116: 1112: 1107: 1105: 1101: 1093:Issue of 1934 1090: 1085: 1081: 1079: 1078:Musée d'Orsay 1075: 1071: 1066: 1061: 1059: 1055: 1054:Royal Academy 1049: 1041: 1037: 1035: 1031: 1023: 1022:Musée d'Orsay 1019: 1015: 1014: 1009: 1004: 997: 992: 990: 989:Impressionism 986: 982: 972: 970: 966: 961: 959: 958:Fantin-Latour 954: 952: 948: 944: 940: 936: 932: 928: 924: 918: 916: 909: 907: 903: 898: 896: 891: 887: 883: 878: 876: 868: 864: 863: 858: 853: 841:Mature career 838: 836: 832: 828: 823: 821: 816: 814: 809: 807: 803: 799: 798: 792: 790: 789: 783: 781: 777: 773: 769: 764: 760: 759: 754: 750: 746: 742: 741: 732: 727: 720: 719: 714: 705: 703: 699: 695: 690: 688: 682: 680: 675: 671: 667: 663: 653: 651: 647: 642: 640: 639:Édouard Manet 636: 632: 628: 627:Carolus-Duran 624: 620: 616: 612: 606: 601: 597: 592: 589: 583: 581: 577: 573: 569: 568:Latin Quarter 559: 556: 548: 544: 540: 536: 534: 530: 525: 515: 513: 509: 504: 502: 497: 493: 488: 483: 479: 469: 465: 463: 459: 454: 449: 447: 446:Francis Haden 442: 440: 436: 432: 431:plaster casts 428: 423: 421: 417: 413: 404: 395: 393: 389: 385: 381: 377: 372: 368: 366: 362: 352: 350: 346: 342: 338: 333: 331: 327: 323: 319: 304: 302: 298: 294: 293: 288: 282: 280: 276: 272: 268: 264: 258: 230: 226: 215: 211: 208: 204: 201: 197: 196: 194: 190: 184: 181: 179: 176: 175: 173: 169: 150: 145: 141: 138: 134: 130: 127: 126: 122: 116: 112: 108: 105: 102: 98: 94: 90: 79:July 17, 1903 78: 74: 69: 64:July 10, 1834 63: 59: 55: 50: 45: 40: 33: 30: 19: 7230:Emma Willard 7215:Walt Whitman 7209: 7185:Lillian Wald 7155:Joseph Story 7115:William Penn 7095:Thomas Paine 7070:James Monroe 6965:Mark Hopkins 6945:Joseph Henry 6865:Peter Cooper 6845:Rufus Choate 6800:Daniel Boone 6785:Clara Barton 6615: 6596: 6588: 6580: 6565: 6557: 6542: 6534: 6526: 6520:Sea and Rain 6518: 6510: 6502: 6494: 6486: 6480: 6466: 6408: 6400: 6391: 6385: 6368: 6353: 6267:Open Library 6237: at the 6210: 6184: 6165: 6150: 6132: 6104: 6097: 6089: 6071: 6061: 6046: 6039: 6024: 6006: 5988: 5969: 5942: 5924: 5909: 5894: 5879: 5864: 5849: 5834: 5819: 5804: 5789: 5774: 5767: 5764:Levy, Mervyn 5757: 5754:Laver, James 5747: 5740:Honour, Hugh 5725: 5710: 5692: 5676: 5661: 5642: 5622: 5599: 5581: 5566: 5548: 5532: 5517: 5502: 5486:Wilde, Oscar 5478: 5470: 5463:the original 5431: 5418: 5386: 5371: 5357: 5321: 5310: 5299: 5272: 5236: 5213:. Retrieved 5203: 5196:Cookson 2006 5191: 5179:. Retrieved 5169: 5157:. Retrieved 5153:Barnebys.com 5152: 5143: 5134: 5124: 5115: 5105: 5096: 5090: 5079: 5071: 5051: 5039: 5031: 5026: 5014: 5005: 4991: 4979:. Retrieved 4969: 4957:. Retrieved 4936: 4931: 4922: 4910:. Retrieved 4905: 4896: 4884: 4875: 4863: 4851: 4839: 4827:. Retrieved 4817: 4808: 4781: 4769: 4760: 4751: 4743: 4739: 4727: 4715: 4706: 4697: 4685: 4666: 4654: 4642: 4630: 4618: 4606: 4594: 4582: 4570: 4539: 4527:. Retrieved 4523:the original 4518: 4509: 4497: 4482: 4477: 4465: 4453: 4433: 4426: 4414: 4402: 4390: 4361: 4319: 4307: 4295: 4265: 4258: 4246:. Retrieved 4244:. Nga.gov.au 4239: 4232: 4220: 4208: 4196:. Retrieved 4181: 4174: 4164: 4160: 4155: 4143:. Retrieved 4139:the original 4129: 4120: 4112: 4107: 4099: 4094: 4082: 4070: 4058: 4046:. Retrieved 4042:the original 4032: 4020:. Retrieved 4014: 4007: 3995: 3983:. Retrieved 3979:the original 3969: 3964:, p. 7. 3938: 3926: 3914: 3902:. Retrieved 3898: 3889: 3882:Wedmore 1911 3877: 3862: 3857: 3845: 3833: 3821: 3809: 3800: 3791: 3781: 3772: 3763: 3748: 3743: 3716: 3692: 3680: 3668: 3656: 3629:. Retrieved 3625:the original 3615: 3588: 3576: 3566:December 21, 3564:. Retrieved 3559: 3550: 3523: 3511: 3499: 3487:. Retrieved 3483:the original 3476: 3469: 3457: 3445: 3433: 3391: 3379: 3367: 3355: 3343: 3331: 3319: 3307: 3295:. Retrieved 3291:the original 3281: 3269:. Retrieved 3257: 3248: 3236: 3224: 3191: 3182: 3176: 3164: 3152: 3137: 3132: 3120: 3108:. Retrieved 3104:the original 3094: 3086:masslive.com 3085: 3075: 3070:, p. 9. 3063: 3037: 3028: 3019: 3015: 2993: 2968: 2955: 2918: 2912: 2906: 2900: 2895:, p. 4. 2871:. Retrieved 2867:the original 2857: 2845:. Retrieved 2832: 2800: 2794: 2779: 2761: 2743: 2725: 2707: 2689: 2671: 2653: 2636:Fishing Boat 2635: 2617: 2599: 2581: 2563: 2545: 2525: 2507: 2489: 2471: 2449: 2423: 2407: 2400: 2396: 2392: 2386: 2379: 2368: 2363: 2356: 2350: 2344: 2338: 2326: 2320: 2312: 2301: 2291: 2286: 2245: 2241: 2226: 2216: 2199: 2183: 2180:E. W. Godwin 2177: 2173: 2169: 2162: 2156: 2148: 2146: 2140:, whose son 2133: 2118:Claude Monet 2101: 2087: 2068: 2063: 2059: 2052: 2049:Café society 2042: 2038: 2034: 2031:as the model 2024: 2009: 1995: 1977: 1948: 1940: 1936:Frick Museum 1931: 1929: 1914: 1899: 1895:Montparnasse 1887: 1882: 1876: 1864:Neo-Jacobite 1856: 1852: 1842: 1832: 1820: 1818: 1811: 1804: 1791: 1781: 1770: 1759:The Barrow, 1758: 1746: 1740: 1735: 1727: 1716: 1713: 1710: 1706: 1694: 1679: 1672: 1671: 1662: 1660: 1646: 1631: 1625: 1621: 1616: 1604:E. W. Godwin 1592: 1580: 1571: 1568: 1565: 1560: 1558: 1553: 1549: 1547: 1544: 1537: 1532: 1530: 1498: 1481: 1473: 1451: 1445: 1442:Ruskin trial 1431: 1419: 1412:Peacock Room 1411: 1397: 1395: 1387: 1379: 1370: 1369: 1360: 1356: 1340: 1326: 1317:surface tone 1305: 1296: 1264: 1255: 1240: 1236: 1219: 1210: 1197: 1178: 1172: 1153: 1150:Edvard Munch 1143: 1133: 1125: 1124: 1110: 1108: 1097: 1088: 1064: 1062: 1050: 1046: 1033: 1029: 1027: 1017: 1011: 995: 985:Claude Monet 978: 962: 955: 922: 920: 917:than I wish! 914: 911: 899: 882:River Thames 879: 872: 867:Tate Britain 860: 824: 817: 810: 805: 801: 795: 793: 786: 784: 776:Napoleon III 767: 756: 738: 736: 716: 708:Early career 701: 697: 693: 691: 686: 683: 674:At the Piano 673: 670:At the Piano 669: 665: 659: 643: 610: 593: 584: 565: 552: 542: 521: 505: 496:Robert E Lee 475: 466: 450: 443: 424: 409: 390:, where the 373: 369: 358: 334: 315: 296: 290: 283: 224: 223: 123: 119:Notable work 81:(1903-07-17) 48: 29: 7286:1903 deaths 7281:1834 births 7220:Eli Whitney 7125:Walter Reed 7045:Horace Mann 6805:Edwin Booth 6760:Jane Addams 6575: 1875 6552: 1872 6341:," poem by 5945:Montesquiou 4434:Oscar Wilde 3904:January 25, 2749:oil on wood 2731:oil on wood 2695:oil on wood 2472:Rotherhithe 2393:Rotherhithe 2341:Henry James 2305:Honored on 2253:Oscar Wilde 2184:White House 2134:Ten O'Clock 2122:Edgar Degas 2045:Oscar Wilde 1921:Chippendale 1910:Savoy Hotel 1849:lithography 1730:Oscar Wilde 1717:Ten O'Clock 1702:Robert Blum 1638:Later years 1600:Tite Street 1554:a nocturne. 1525:John Holker 1448:John Ruskin 1428:Smithsonian 1408:Val Prinsep 1297:The Doorway 1289:in London. 1267:lithographs 1247:Printmaking 1213:, c. 1895, 1098:During the 1070:Donald Duck 965:Edgar Degas 943:arrangement 835:Tite Street 831:Cheyne Walk 698:French set, 694:Thames Set, 603: [ 478:caricatures 355:New England 347:during the 287:"nocturnes" 135:Founder of 92:Nationality 7270:Categories 7180:Mark Twain 7000:James Kent 6970:Elias Howe 6850:Henry Clay 6750:John Adams 6628:Family and 6159:1903933285 5955:Flammarion 5228:References 5215:August 16, 4022:October 6, 2949:required.) 2765:1894–1902 2675:1883–1884 2639:1879–1880 2603:1870–1877 2567:1870–1871 2549:1868–1878 2511:1863–1865 2439:in France. 2432:in Munich. 2378:'s novel, 2158:Le Sommeil 2116:, notably 1517:High Court 1287:Bloomsbury 1271:dry-points 1211:Alice Butt 1155:The Scream 1111:New Yorker 1080:in Paris. 949:after the 494:. Colonel 472:West Point 307:Early life 271:Gilded Age 267:printmaker 263:watercolor 7030:Mary Lyon 6740:inductees 6474:Paintings 5987:(1978) . 5256:613244627 4115:, p. 349. 4100:The Times 3266:0040-781X 2847:April 29, 2842:(webpage) 2389:Doris Day 2339:Novelist 2333:Aesthetic 2325:operetta 2233:Velázquez 2229:Rembrandt 2142:Leon Dabo 2071:Symbolist 1982:(c. 1860) 1690:Sotheby's 1275:Limehouse 1233:Technique 1200:solo show 1189:Lady Meux 1145:Mona Lisa 1109:In 2015, 975:Portraits 895:Hiroshige 890:fireworks 846:Nocturnes 615:Rembrandt 555:Baltimore 524:draftsman 518:First job 100:Education 7356:Tonalism 6930:Asa Gray 6281:Archived 6088:(1966). 6040:Whistler 6023:(2007). 5941:(1995). 5758:Whistler 5756:(1930). 5746:(1991). 5621:(1991). 5407:(1911). 5372:Whistler 5341:36587931 5291:63400905 5181:July 15, 5159:April 7, 5074:, p. 22. 5072:Whistler 4981:July 15, 4959:July 15, 4912:July 25, 4829:July 15, 4674:Archived 4529:June 30, 4248:July 22, 4198:July 22, 4145:July 15, 4048:July 15, 3985:July 22, 3863:Whistler 3631:July 15, 3489:July 15, 3297:July 15, 2873:July 15, 2807:See also 2801:Nocturne 2600:Nocturne 2328:Patience 2288:thought. 2257:Tonalism 2217:Whistler 2112:and the 2012:, 1876. 1766:drypoint 1761:Brussels 1737:concurs. 1664:fright." 1619:pamphlet 1596:farthing 1333:monogram 1121:writes: 931:symphony 927:nocturne 869:, London 865:(1872), 492:demerits 312:Heritage 209:, France 137:Tonalism 132:Movement 113:Painting 95:American 6689:Related 6673:Museums 6358:. 1914. 6256:at the 5417:(ed.). 5084:Bonhams 4163:in the 3271:June 9, 2458:Gallery 1719:lecture 1585:(1874), 1515:of the 1493:guineas 1489:coxcomb 1426:at the 1257:Zaandam 1113:critic 1024:, Paris 935:harmony 915:no more 884:and of 533:etching 508:silicon 458:cholera 171:Parents 165: 157: 153: 6620:(1890) 6593:(1881) 6562:(1873) 6539:(1871) 6531:(1871) 6523:(1865) 6491:(1862) 6483:(1858) 6239:Art UK 6208:about 6191: 6176: 6157: 6139: 6123: 6112: 6102:." In 6078: 6053: 6031: 6013: 5995: 5976: 5961: 5931: 5916: 5901: 5886: 5871: 5856: 5841: 5826: 5811: 5796: 5781: 5742:, and 5732: 5717: 5699: 5683: 5668: 5649: 5629: 5606: 5588: 5573: 5555: 5539: 5524: 5509: 5440: 5393: 5378: 5364: 5349: 5339: 5329: 5289: 5279: 5264: 5254: 5244: 4489: 4441: 4189: 3869: 3755: 3264: 3144: 3110:May 1, 3034:"Home" 2943: 2935: 2420:Honors 2370:Trilby 2275:) and 2273:Venice 2208:Legacy 2120:, and 2096:, and 1682:Venice 1308:Venice 1269:, and 941:" or " 906:Chopin 800:. His 679:Gleyre 656:London 637:, and 588:Louvre 576:Ingres 265:, and 192:Awards 143:Spouse 6609:Books 5413:. In 2907:Neill 2824:Notes 2783:1898 2747:1893 2729:1889 2711:1888 2693:1884 2657:1881 2621:1879 2585:1874 2531:1866 2493:1860 2475:1860 2104:with 2065:dull. 2054:Punch 2027:used 1925:Barye 1556:..." 1509:libel 969:Manet 963:When 939:study 780:Salon 607:] 159:( 155: 6241:site 6189:ISBN 6174:ISBN 6155:ISBN 6137:ISBN 6121:ISBN 6110:ISBN 6076:ISBN 6051:ISBN 6029:ISBN 6011:ISBN 5993:ISBN 5974:ISBN 5959:ISBN 5929:ISBN 5914:ISBN 5899:ISBN 5884:ISBN 5869:ISBN 5854:ISBN 5839:ISBN 5824:ISBN 5809:ISBN 5794:ISBN 5779:ISBN 5730:ISBN 5715:ISBN 5697:ISBN 5681:ISBN 5666:ISBN 5647:ISBN 5627:ISBN 5604:ISBN 5586:ISBN 5571:ISBN 5553:ISBN 5537:ISBN 5522:ISBN 5507:ISBN 5438:ISBN 5391:ISBN 5376:ISBN 5362:ISBN 5347:ISBN 5337:OCLC 5327:ISBN 5287:OCLC 5277:ISBN 5262:ISBN 5252:OCLC 5242:ISBN 5217:2019 5183:2013 5161:2020 4983:2013 4961:2013 4914:2023 4831:2013 4531:2015 4487:ISBN 4439:ISBN 4250:2013 4200:2013 4187:ISBN 4147:2013 4050:2013 4024:2022 3987:2013 3906:2020 3867:ISBN 3753:ISBN 3633:2013 3568:2022 3491:2013 3299:2013 3273:2016 3262:ISSN 3258:Time 3142:ISBN 3112:2015 2933:ISBN 2875:2013 2849:2014 2399:and 2349:and 2321:The 2194:and 2161:and 2077:and 1953:and 1798:and 1507:for 1505:writ 1468:and 1285:and 1283:Soho 1148:and 1130:Wood 1072:and 983:and 937:", " 933:", " 929:", " 804:and 324:and 76:Died 70:, US 61:Born 6428:at 6418:at 6390:in 6367:". 6352:". 6320:at 6265:at 6247:at 2925:doi 2219:by 1542:." 1535:?" 1152:'s 1142:'s 1132:'s 893:of 755:'s 633:), 512:gas 281:". 229:RBA 7272:: 6572:c. 6549:c. 5957:. 5335:. 5285:, 5250:. 5151:. 5131:, 5112:, 5063:^ 4944:^ 4904:. 4793:^ 4705:. 4551:^ 4517:. 4373:^ 4346:^ 4331:^ 4280:^ 3950:^ 3897:. 3790:. 3728:^ 3701:^ 3641:^ 3600:^ 3558:. 3535:^ 3418:^ 3403:^ 3256:. 3203:^ 3084:. 3046:^ 3036:. 3020:29 3018:. 3014:. 3002:^ 2992:. 2981:^ 2931:. 2917:. 2883:^ 2416:. 2405:. 2318:. 2267:, 2263:, 2231:, 2151:, 2092:, 2085:. 1946:. 1904:, 1897:. 1881:, 1862:a 1666:– 1438:. 1377:. 1363:, 1319:. 1138:, 1128:, 1020:, 897:. 782:. 641:. 605:fr 503:. 464:. 332:. 254:ər 161:m. 6730:e 6723:t 6716:v 6577:) 6570:( 6554:) 6547:( 6459:e 6452:t 6445:v 6363:" 6348:" 6337:" 6195:. 6180:. 6161:. 6145:. 6127:. 6116:. 6082:. 6057:. 6035:. 6017:. 6001:. 5980:. 5965:. 5953:/ 5935:. 5920:. 5905:. 5890:. 5875:. 5860:. 5845:. 5830:. 5815:. 5800:. 5785:. 5736:. 5721:. 5705:. 5687:. 5672:. 5657:. 5655:. 5637:. 5635:. 5614:. 5592:. 5577:. 5561:. 5543:. 5528:. 5513:. 5446:. 5399:. 5353:. 5343:. 5258:. 5219:. 5185:. 5163:. 4985:. 4963:. 4916:. 4833:. 4709:. 4533:. 4447:. 4274:. 4268:" 4264:" 4252:. 4242:" 4202:. 4149:. 4052:. 4026:. 4017:" 3989:. 3908:. 3794:. 3635:. 3570:. 3493:. 3479:" 3301:. 3275:. 3114:. 3088:. 3040:. 2996:. 2941:. 2927:: 2877:. 2851:. 2446:. 1969:. 1860:, 1661:" 1655:) 257:/ 251:l 248:s 245:ɪ 242:w 239:ˈ 236:/ 232:( 20:)

Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.

Knowledge

James McNeill Whistler

Index