Pastels

Collection Info

Some of the Terra collection's most iconic works are pastels, executed by such masters of the medium as William Merritt Chase, Mary Cassatt, and Arthur Dove among others.

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The Zattere: Harmony in Blue and Brown

James Abbott McNeill Whistler

Date: c. 1879

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

Object number: 1992.162

Text Entries: Godwin, E. W. "Notes on Current Events." British Architect (February 4, 1881): 59-64. Text. Pan (February 5, 1881). Queen (February 12, 1881). Godwin, E. W. "With Whistler's Critics." British Architect (February 25, 1881): 98–99. Way, T. R. Memories of James McNeill Whistler, the Artist. London, England: John Lane, 1912. Ill. following p. 52. Stebbins, Theodore E., Jr. American Master Drawings & Watercolors. (exh. cat., The American Federation of the Arts). New York: Harper & Row, 1976. Text p. 226; fig. 184, p. 225 (color as The Little Riva, in Opal). MacDonald, Margaret F. Notes, Harmonies & Nocturnes: Small Works by James McNeill Whistler. (exh. cat., M. Knoedler & Company, Inc.). New York: M. Knoedler & Company, Inc., 1984. Ill. no. 81, p. 64 (black & white). Atkinson, D. Scott et al. A Proud Heritage: Two Centuries of American Art. Edited by Terry A. Neff. (exh. cat., Terra Museum of American Art). Chicago, Illinois: Terra Foundation for the Arts, 1987. Pl. T-33, p. 142 (color). Getscher, Robert. James Abbott McNeill Whistler: Pastels. New York: G. Braziller, 1991. Text p. 74; ill. p. 75 (color). Dorment, Richard and Margaret F. MacDonald et al. James McNeill Whistler. (exh. cat., Tate Gallery). London, England: Tate Gallery, 1994. Text no. 112, p. 190; ill. no. 112, p. 191 (color). MacDonald, Margaret F. James McNeill Whistler: Drawings, Pastels, and Watercolours; A Catalogue Raisonné. New Haven, Connecticut and London, England: Yale University Press, 1995. Text no. 774, pp. 285–86; ill. no. 774, p. 286 (color). MacDonald, Margaret F. "Whistler on Exhibition." The Magazine Antiques 147:6 (June 1995): 864–73. Text p. 869; pl. XI, p. 870 (color). Grieve, Alastair. Whistler's Venice. New Haven, Connecticut and London, England: Yale University Press, 2000. Text p. 76; fig. 78, p. 76 (color). MacDonald, Margaret F. Places in the Night: Whistler in Venice. Hampshire, England: Lund Humphries, 2001. Text pp. 49, 52; ill. no. 55, p. 50 (color). Stratis, Harriet K. and Britt Salvesen, eds. The Broad Spectrum: Studies in the Materials, Techniques, and Conservation of Color on Paper. London, England: Archetype Publications, 2002. Text p. 38; fig. 1.27, p. 38 (color). Bourguignon, Katherine M. and Elizabeth Kennedy. An American Point of View: The Daniel J. Terra Collection. Chicago, Illinois: Terra Foundation for the Arts, 2002. Text pp. 104, 108, 206; ill. pp. 105 (color), 206 (black & white). Bourguignon, Katherine M. and Elizabeth Kennedy. Un regard transatlantique. La collection d'art américain de Daniel J. Terra. Chicago, Illinois: Terra Foundation for the Arts, 2002. Text pp. 104, 108, 206; ill. pp. 105 (color), 206 (black & white). Hofelt, Miranda. The Zattere: Harmony in Blue and Brown, James McNeill Whistler. Collection Cameo sheet, Terra Museum of American Art, Chicago, Illinois, July 2003. Ill. (color). Harris, Neil et al. L'art américain: Identités d'une nation. Edited by Veerle Thielemans et Matthias Waschek. Giverny: Musée d'Art Américain Giverny; Paris: Musée du Louvre, 2005. Text p. 95; ill. p. 97 (color). Cleveland, David A. A History of American Tonalism: 1880–1920. Manchester, Vermont: Hudson Hills Press, 2010. Text, p. 140; ill. fig. 3.68, p. 140 (color). Bourguignon, Katherine M., and Peter John Brownlee, eds. Conversations with the Collection: A Terra Foundation Collection Handbook. Chicago: Terra Foundation for American Art, 2018. Text p. 128; ill. p. 128 (color).

Spring

James Abbott McNeill Whistler

Date: c. 1893

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

Object number: 1996.91

Text Entries: Pyne, Kathleen. "Classical Figures, A Folding Screen by Thomas Dewing." Bulletin of the Detroit Institute of Arts 59.1 (Spring 1981): 6, 7. Text pp. 6, 7. Sotheby's New York, New York (September 14, 1995): lot 121. Text lot 121; ill. cover, lot 121. MacDonald, Margaret F. James McNeill Whistler: Drawings, Pastels, and Watercolours; A Catalogue Raisonné. New Haven, Connecticut and London, England: Yale University Press, 1995. Text no. 1397, p. 507; ill. no. 1397, p. 506 (color). Tedeschi, Martha and Britt Salvesen. "Songs on Stone: James McNeill Whistler and the Art of Lithography." Museum Studies 24:1 (1998): 4–135. Text p. 75 (checklist); fig. 89, p. 69 (color). Cartwright, Derrick R. The Extraordinary and the Everyday: American Perspectives, 1820–1920. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2001. Text p. 24 (checklist); ill. p. 44 (color). Cartwright, Derrick R. L'Héroïque et le quotidian: les artistes américains, 1820–1920. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2001. Text p. 24 (checklist); ill. p. 44 (color).

Blue Girl

James Abbott McNeill Whistler

Date: c. 1894

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

Object number: 1999.146a

Text Entries: James McNeill Whistler employed pastel drawings to different effects during his career. In his early years as a painter, his pastel sketches of young women in classical garments were studies for his oil paintings. Executed in 1879-1880, his pastels of Venetian city scenes were produced as independent works of art that received critical acclaim and commercial success. Returning to figural sketches in the 1890s, Whistler drew pastel confections of nubile girls depicted nude or draped in gossamer robes that were conceived of as autonomous works of art. Whistler's pastels incorporated the brown paper support as the major value while the pastels-fabricated chalk bright friable sticks of pigment-were used as light and color. Whistler modified textures and colors by scraping the side of the pastel across the grain (known as scumbling) and rubbing it. Just as in his oil paintings, Whistler would, at times, completely scrape off the colored pigment to begin again-note the faint impression of a previous drawing of a sitting figure in Reclining Nude.

Woman Holding a Fan

James Abbott McNeill Whistler

Date: c. 1894

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

Object number: 1999.146b

Text Entries: MacDonald, Margaret F. Notes, Harmonies & Nocturnes: Small Works by James McNeill Whistler. (exh. cat., M. Knoedler & Company, Inc.). New York: M. Knoedler & Company, Inc., 1984. Text nos. 42, 42A, p. 43; ill. no. 42A, p. 43. (black & white). MacDonald, Margaret F. James McNeill Whistler: Drawings, Pastels, and Watercolours; A Catalogue Raisonné. New Haven, Connecticut and London, England: Yale University Press, 1995. Text no. 1223, p. 442; ill. no. 1223v, p. 442 (black & white).