Works – New Web objects Landscape – Collections – Terra Foundation for American Art

James Abbott McNeill Whistler

Date: 1878

Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection

Object number: 1994.7

Text Entries: Way, T. R. Mr. Whistler's Lithographs: The Catalogue. 2nd ed. New York: H. Wunderlich & Company, 1905. No. 5. Levy, Mervyn. Whistler Lithographs: An Illustrated Catalogue Raisonné. London, England: Jupiter Books, 1975. No. 10. Hobbs, Susan and Nesta R. Spink. Lithographs of James McNeill Whistler from the Collection of Steven Louis Block. (exh. cat., Smithsonian Institution Traveling Exhibition Service). Washington, D. C.: Smithsonian Institution Traveling Exhibition Service, 1982. Text pp. 8, 9; no. 3. Adams, Clinton. American Lithographers 1900–1960: The Artists and Their Printers. Albuquerque, New Mexico: The University of New Mexico Press, 1983. Text p. 8. Lochnan, Katharine A. Whistler and His Circle: Etchings and Lithographs from the Collection of the Art Gallery of Ontario. (exh. cat., Kitchener/Waterloo Art Gallery). Toronto, Ontario: The Gallery, 1986. No. 23, pp. 46–47. Dorment, Richard and Margaret F. MacDonald et al. James McNeill Whistler. (exh. cat., Tate Gallery). London, England: Tate Gallery, 1994. No. 53, p. 129. Stratis, Harriet K. and Martha Tedeschi, eds. The Lithographs of James McNeill Whistler. Vol. 1. A Catalogue Raisonné. Chicago, Illinois: The Art Institute of Chicago, 1998. No. 8, pp. 63–66. Cartwright, Derrick R. Waves and Waterways: American Perspectives, 1850–1900. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2000. Text pp. 21, 28 (checklist); fig. 16, p. 21 (black & white). [specific reference to Terra print] Cartwright, Derrick R. Rivières et rivages: les artistes américains, 1850–1900. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2000. Text pp. 21, 28 (checklist); fig. 16, p. 21 (black & white). [specific reference to Terra print] Pathways to Modernism: American Art, 1865–1945. (exh. cat. Shanghai Museum with Art Institute of Chicago and Terra Foundation for American Art). Shanghai: Shanghai Museum, 2018. Text p. 56; ill. p. 61 (color). Bourguignon, Katherine and Valerie Reis. The Studio of Nature, 1860-1910: The Terra Collection in Context. (exh. cat, Terra Foundation for American Art with the Musée des Impressionnismes Giverny). Paris, France: Réunion des musées nationaux, 2020. Text p. 51; Pl. 30, p. 95 (color).

Fishing Boat

James Abbott McNeill Whistler

Date: 1879–80

Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection

Object number: 1992.150

Text Entries: Kennedy, Edward Guthrie. The Etched Work of Whistler. Illustrated by reproductions in collotype of the different states of the plates. New York: Grolier Club, 1910. No. 208 iii/v. Fine, Ruth E. Drawing Near: Whistler Etchings from the Zelman Collection. (exh. cat., Los Angeles County Museum of Art). Los Angeles, California: Los Angeles County Museum of Art, 1984. No. 64, pp. 140–41. Lochnan, Katharine A. The Etchings of James McNeill Whistler. New Haven, Connecticut and London, England: Art Gallery of Ontario and Yale University Press, 1984. No. 216. Grieve, Alastair. Whistler's Venice. New Haven, Connecticut: Yale University Press, 2000. Text pp. 138, 139, 192; fig. 171. MacDonald, Margaret F. Palaces in the Night: Whistler in Venice. Hampshire, England: Lund Humphries, 2001. Text pp. 68, 120.

Fish-Shop, Venice

James Abbott McNeill Whistler

Date: 1879–80

Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection

Object number: 1992.151

Text Entries: The London Etchings Refining the prosaic etching technique learned while working for the US Coast and Geodetic Survey, James McNeill Whistler won recognition for his artistic prints of topographical views of Paris in 1858. A few years later, the Thames Set, sixteen etchings portraying the poverty of the working class along London's river thoroughfare, brought him international critical approval when exhibited in London and Paris. The Venetian Etchings Winning the notorious Whistler v. Ruskin libel trail in 1878 was a financial disaster for the artist, who was awarded a single farthing but had to pay substantial court costs. A commission from the London Fine Arts Society for twelve etchings of Venice offered Whistler an opportunity to redeem his artistic reputation. Working outdoors during his fourteen-month stay, Whistler drew directly onto a copper plate is an impressionistic interpretation of a scene that diverged significantly from his detailed etchings of London. Whistler's emphasis on the plane parallel to the surface distinguishes his views of Venice from other artists. The emphasis is not merely formal, but a way of creating a sense of theatrical anticipation. Contrasts of light and texture are emphasized by the broken intricately cross-hatched lines with which Whistler drew the figures, decaying bricks and the light wiry lines that depict the people. Returning to London in December 1880, Whistler displayed twelve of his fifty Venice etchings at the London Fine Arts Society. Known as the First Venice Set, the exhibition alternated six horizontal and six vertical subjects. The Second Venice Set of twenty-six etchings was exhibited in 1883. While the compositions range in subject from private courtyard scenes to tourist views, they all have a theatrical quality to them. Whistler's command of portraying depth in his etched landscapes and his emphasis on working from the center to the edge of the paper distinguish the series.

Fruit Stall

James Abbott McNeill Whistler

Date: 1879–80

Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection

Object number: 1992.153

Text Entries: Kennedy, Edward Guthrie. The Etched Work of Whistler. Illustrated by reproductions in collotype of the different states of the plates. New York: Grolier Club, 1910. No. 200 vii/vii. Fine, Ruth E. Drawing Near: Whistler Etchings from the Zelman Collection. (exh. cat., Los Angeles County Museum of Art). Los Angeles, California: Los Angeles County Museum of Art, 1984. No. 45, pp. 105–107. Lochnan, Katharine A. The Etchings of James McNeill Whistler. New Haven, Connecticut and London, England: Art Gallery of Ontario and Yale University Press, 1984. Text p. 224. Grieve, Alastair. Whistler's Venice. New Haven, Connecticut, and London, England: Yale University Press, 2000. Text pp. 136, 192; fig. 167, p. 135. MacDonald, Margaret F. Palaces in the Night: Whistler in Venice. Hampshire, England: Lund Humphries, 2001. Text pp. 73, 120, 124.

The Little Mast

James Abbott McNeill Whistler

Date: 1879–80

Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection

Object number: 1992.154

Text Entries: The London Etchings Refining the prosaic etching technique learned while working for the US Coast and Geodetic Survey, James McNeill Whistler won recognition for his artistic prints of topographical views of Paris in 1858. A few years later, the Thames Set, sixteen etchings portraying the poverty of the working class along London's river thoroughfare, brought him international critical approval when exhibited in London and Paris. The Venetian Etchings Winning the notorious Whistler v. Ruskin libel trail in 1878 was a financial disaster for the artist, who was awarded a single farthing but had to pay substantial court costs. A commission from the London Fine Arts Society for twelve etchings of Venice offered Whistler an opportunity to redeem his artistic reputation. Working outdoors during his fourteen-month stay, Whistler drew directly onto a copper plate is an impressionistic interpretation of a scene that diverged significantly from his detailed etchings of London. Whistler's emphasis on the plane parallel to the surface distinguishes his views of Venice from other artists. The emphasis is not merely formal, but a way of creating a sense of theatrical anticipation. Contrasts of light and texture are emphasized by the broken intricately cross-hatched lines with which Whistler drew the figures, decaying bricks and the light wiry lines that depict the people. Returning to London in December 1880, Whistler displayed twelve of his fifty Venice etchings at the London Fine Arts Society. Known as the First Venice Set, the exhibition alternated six horizontal and six vertical subjects. The Second Venice Set of twenty-six etchings was exhibited in 1883. While the compositions range in subject from private courtyard scenes to tourist views, they all have a theatrical quality to them. Whistler's command of portraying depth in his etched landscapes and his emphasis on working from the center to the edge of the paper distinguish the series.

The Riva No. 1

James Abbott McNeill Whistler

Date: 1879–80

Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection

Object number: 1992.156

Text Entries: Kennedy, Edward Guthrie. The Etched Work of Whistler. Illustrated by reproductions in collotype of the different states of the plates. New York: Grolier Club, 1910. No. 192 iii/iii. Lochnan, Katharine A. The Etchings of James McNeill Whistler. New Haven, Connecticut and London, England: Art Gallery of Ontario and Yale University Press, 1984. No. 203. Grieve, Alastair. Whistler's Venice. New Haven, Connecticut and London, England: Yale University Press, 2000. Text pp. 32, 107, 109, 189; fig. 124, p. 108. MacDonald, Margaret F. Palaces in the Night: Whistler in Venice. Hampshire, England: Lund Humphries, 2001. Text pp. 88, 94, 120, 128; fig. 5. Pathways to Modernism: American Art, 1865-1945. (exh. cat. Shanghai Museum with Art Institute of Chicago and Terra Foundation for American Art). Shanghai: Shanghai Museum, 2018. Text p. 56; ill. p. 58 (color). Rossetti de Toledo, Carolina, Ana Gonçalves Magalhães, and Peter John Brownlee. Atelier 17 e a gravura moderna nas Americas / Atelier 17 and Modern Printmaking in the Americas. (exh. cat., Museu de Arte Contemporânea da Universidade de São Paulo). São Paulo, Brazil: 2019. Text pp. 23, ill. 1, p. 25 (color).

San Biagio

James Abbott McNeill Whistler

Date: 1879–80

Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection

Object number: 1992.157

Text Entries: The London Etchings Refining the prosaic etching technique learned while working for the US Coast and Geodetic Survey, James McNeill Whistler won recognition for his artistic prints of topographical views of Paris in 1858. A few years later, the Thames Set, sixteen etchings portraying the poverty of the working class along London's river thoroughfare, brought him international critical approval when exhibited in London and Paris. The Venetian Etchings Winning the notorious Whistler v. Ruskin libel trail in 1878 was a financial disaster for the artist, who was awarded a single farthing but had to pay substantial court costs. A commission from the London Fine Arts Society for twelve etchings of Venice offered Whistler an opportunity to redeem his artistic reputation. Working outdoors during his fourteen-month stay, Whistler drew directly onto a copper plate is an impressionistic interpretation of a scene that diverged significantly from his detailed etchings of London. Whistler's emphasis on the plane parallel to the surface distinguishes his views of Venice from other artists. The emphasis is not merely formal, but a way of creating a sense of theatrical anticipation. Contrasts of light and texture are emphasized by the broken intricately cross-hatched lines with which Whistler drew the figures, decaying bricks and the light wiry lines that depict the people. Returning to London in December 1880, Whistler displayed twelve of his fifty Venice etchings at the London Fine Arts Society. Known as the First Venice Set, the exhibition alternated six horizontal and six vertical subjects. The Second Venice Set of twenty-six etchings was exhibited in 1883. While the compositions range in subject from private courtyard scenes to tourist views, they all have a theatrical quality to them. Whistler's command of portraying depth in his etched landscapes and his emphasis on working from the center to the edge of the paper distinguish the series.

Shipping, Venice

James Abbott McNeill Whistler

Date: 1879–80

Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection

Object number: 1992.159

Text Entries: Kennedy, Edward Guthrie. The Etched Work of Whistler. Illustrated by reproductions in collotype of the different states of the plates. New York: Grolier Club, 1910. No. 229. Lochnan, Katharine A. The Etchings of James McNeill Whistler. New Haven, Connecticut and London, England: Art Gallery of Ontario and Yale University Press, 1984. No. 196. Grieve, Alastair. Whistler's Venice. New Haven, Connecticut: Yale University Press, 2000. Text p. 80. MacDonald, Margaret F. Palaces in the Night: Whistler in Venice. Hampshire, England: Lund Humphries, 2001. Text p. 70. James Whistler–Zoran Music: Venecia. (exh. cat. Institut Valencià d'Art Modern) Valencià, Spain: Institut Valencià d'Art Modern, 2005. Ill, p.179 (color).

Turkeys

James Abbott McNeill Whistler

Date: 1879–80

Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection

Object number: 1992.160

Text Entries: The London Etchings Refining the prosaic etching technique learned while working for the US Coast and Geodetic Survey, James McNeill Whistler won recognition for his artistic prints of topographical views of Paris in 1858. A few years later, the Thames Set, sixteen etchings portraying the poverty of the working class along London's river thoroughfare, brought him international critical approval when exhibited in London and Paris. The Venetian Etchings Winning the notorious Whistler v. Ruskin libel trail in 1878 was a financial disaster for the artist, who was awarded a single farthing but had to pay substantial court costs. A commission from the London Fine Arts Society for twelve etchings of Venice offered Whistler an opportunity to redeem his artistic reputation. Working outdoors during his fourteen-month stay, Whistler drew directly onto a copper plate is an impressionistic interpretation of a scene that diverged significantly from his detailed etchings of London. Whistler's emphasis on the plane parallel to the surface distinguishes his views of Venice from other artists. The emphasis is not merely formal, but a way of creating a sense of theatrical anticipation. Contrasts of light and texture are emphasized by the broken intricately cross-hatched lines with which Whistler drew the figures, decaying bricks and the light wiry lines that depict the people. Returning to London in December 1880, Whistler displayed twelve of his fifty Venice etchings at the London Fine Arts Society. Known as the First Venice Set, the exhibition alternated six horizontal and six vertical subjects. The Second Venice Set of twenty-six etchings was exhibited in 1883. While the compositions range in subject from private courtyard scenes to tourist views, they all have a theatrical quality to them. Whistler's command of portraying depth in his etched landscapes and his emphasis on working from the center to the edge of the paper distinguish the series.

Upright Venice

James Abbott McNeill Whistler

Date: 1879–80

Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection

Object number: 1992.161

Text Entries: The London Etchings Refining the prosaic etching technique learned while working for the US Coast and Geodetic Survey, James McNeill Whistler won recognition for his artistic prints of topographical views of Paris in 1858. A few years later, the Thames Set, sixteen etchings portraying the poverty of the working class along London's river thoroughfare, brought him international critical approval when exhibited in London and Paris. The Venetian Etchings Winning the notorious Whistler v. Ruskin libel trail in 1878 was a financial disaster for the artist, who was awarded a single farthing but had to pay substantial court costs. A commission from the London Fine Arts Society for twelve etchings of Venice offered Whistler an opportunity to redeem his artistic reputation. Working outdoors during his fourteen-month stay, Whistler drew directly onto a copper plate is an impressionistic interpretation of a scene that diverged significantly from his detailed etchings of London. Whistler's emphasis on the plane parallel to the surface distinguishes his views of Venice from other artists. The emphasis is not merely formal, but a way of creating a sense of theatrical anticipation. Contrasts of light and texture are emphasized by the broken intricately cross-hatched lines with which Whistler drew the figures, decaying bricks and the light wiry lines that depict the people. Returning to London in December 1880, Whistler displayed twelve of his fifty Venice etchings at the London Fine Arts Society. Known as the First Venice Set, the exhibition alternated six horizontal and six vertical subjects. The Second Venice Set of twenty-six etchings was exhibited in 1883. While the compositions range in subject from private courtyard scenes to tourist views, they all have a theatrical quality to them. Whistler's command of portraying depth in his etched landscapes and his emphasis on working from the center to the edge of the paper distinguish the series.

The Two Doorways

James Abbott McNeill Whistler

Date: 1879–80

Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection

Object number: 1995.22

Text Entries: The London Etchings Refining the prosaic etching technique learned while working for the US Coast and Geodetic Survey, James McNeill Whistler won recognition for his artistic prints of topographical views of Paris in 1858. A few years later, the Thames Set, sixteen etchings portraying the poverty of the working class along London's river thoroughfare, brought him international critical approval when exhibited in London and Paris. The Venetian Etchings Winning the notorious Whistler v. Ruskin libel trail in 1878 was a financial disaster for the artist, who was awarded a single farthing but had to pay substantial court costs. A commission from the London Fine Arts Society for twelve etchings of Venice offered Whistler an opportunity to redeem his artistic reputation. Working outdoors during his fourteen-month stay, Whistler drew directly onto a copper plate is an impressionistic interpretation of a scene that diverged significantly from his detailed etchings of London. Whistler's emphasis on the plane parallel to the surface distinguishes his views of Venice from other artists. The emphasis is not merely formal, but a way of creating a sense of theatrical anticipation. Contrasts of light and texture are emphasized by the broken intricately cross-hatched lines with which Whistler drew the figures, decaying bricks and the light wiry lines that depict the people. Returning to London in December 1880, Whistler displayed twelve of his fifty Venice etchings at the London Fine Arts Society. Known as the First Venice Set, the exhibition alternated six horizontal and six vertical subjects. The Second Venice Set of twenty-six etchings was exhibited in 1883. While the compositions range in subject from private courtyard scenes to tourist views, they all have a theatrical quality to them. Whistler's command of portraying depth in his etched landscapes and his emphasis on working from the center to the edge of the paper distinguish the series.

Twilight, East Hampton

Mary Nimmo Moran

Date: 1880

Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection

Object number: 1996.82

Text Entries: Mary Nimmo Moran began etching landscapes in 1879 while her husband, a painter of Western landscapes, was away on an extended trip. Rather than making sketches on paper first, she carried her copper plates out of doors and incised bold, spontaneous lines directly onto them, translating areas of foliage and shadow into patterned areas of dark upon dark. Upon his return Thomas Moran submitted four of his wife's prints to the New York Etching Club, and over the following ten years Mary Nimmo Moran exhibited her work both in American cities and in London, where she met John Ruskin and was elected to the Royal Society of Painter-Etchers. She signed many of her prints with her initials to disguise her gender, and consistently deferred to her husband before the public; "I may say I have always been my Husband's pupil," she wrote. The high point of Moran's artistic career in the United States came in 1893 at the World's Columbian Exposition in Chicago, where she won a medal.