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Davis & Langdale Company, Inc., New York, New York
Daniel J. Terra Collection, Chicago, Illinois, 1985
Terra Foundation for the Arts Collection, Chicago, Illinois, 1992
Exhibition HistoryPublished References
James Abbott McNeill Whistler
(American, 1834–1903)
Upright Venice
1879–80
Etching and drypoint on cream wove paper
Plate: 9 7/8 x 6 15/16 in. (25.1 x 17.6 cm)
Sheet: 11 1/4 x 8 1/8 in. (28.6 x 20.6 cm)
Mat: 18 x 14 in. (45.7 x 35.6 cm)
Sheet: 11 1/4 x 8 1/8 in. (28.6 x 20.6 cm)
Mat: 18 x 14 in. (45.7 x 35.6 cm)
Credit LineTerra Foundation for American Art, Daniel J. Terra Collection
Object number1992.161
SignedUnsigned
InterpretationConcentrating on the horizon in his etching Upright Venice, James McNeill Whistler carefully delineated the distant panorama of buildings clustered around the Church of Santa Maria della Salute as seen across the San Marco basin waterway leading to the Grand Canal. A ship moored at the left and a few gondolas define the tipped-up expanse of the water's surface. Like a spare landscape on a Japanese scroll, Whistler placed the sliver of island beneath a cloud-swept sky at the top of the composition, leaving the remaining blank paper, subtly toned with a faint veil of ink residue, to evoke the Venetian lagoon.
Whistler had traveled to Venice in September 1879 to fulfill a commission from the Fine Art Society, a London gallery, for a dozen etchings of that picturesque city. In addition to Beggars (TF 1994.8), Upright Venice was among the first etchings Whistler made upon his arrival; this impression is a fine example of the first state. Months later, after executing etchings and pastels of other Venetian subjects, Whistler revised Upright Venice, adding a foreground embankment and waterfront scene to the bottom of the composition as well as a few more gondolas in the distance. That final version was included among the Venice etchings Whistler exhibited in 1883 at the Fine Art Society. In 1886, it was published in the series titled "A Set of Twenty-six Etchings," known as the "Second Venice Set," a sequel to the "First Venice Set," formally titled "Twelve Etchings," published in 1880.
Whistler had traveled to Venice in September 1879 to fulfill a commission from the Fine Art Society, a London gallery, for a dozen etchings of that picturesque city. In addition to Beggars (TF 1994.8), Upright Venice was among the first etchings Whistler made upon his arrival; this impression is a fine example of the first state. Months later, after executing etchings and pastels of other Venetian subjects, Whistler revised Upright Venice, adding a foreground embankment and waterfront scene to the bottom of the composition as well as a few more gondolas in the distance. That final version was included among the Venice etchings Whistler exhibited in 1883 at the Fine Art Society. In 1886, it was published in the series titled "A Set of Twenty-six Etchings," known as the "Second Venice Set," a sequel to the "First Venice Set," formally titled "Twelve Etchings," published in 1880.
Davis & Langdale Company, Inc., New York, New York
Daniel J. Terra Collection, Chicago, Illinois, 1985
Terra Foundation for the Arts Collection, Chicago, Illinois, 1992
Exhibition History
An American Revelation: The Daniel J. Terra Collection, Terra Museum of American Art, Chicago, Illinois (organizer). Venue: Terra Museum of American Art, Chicago, Illinois, February 28–October 1, 1988.
Regard sur James Abbott McNeill Whistler (James Abbott McNeill Whistler at a Glance), Musée d'Art Américain Giverny, France (organizer). Venue: Musée d'Art Américain Giverny, France, April 1–October 30, 1994.
American Treasures: Chase, Whistler and the Prendergasts, Terra Museum of American Art, Chicago, Illinois (organizer). Venue: Terra Museum of American Art, Chicago, Illinois, April 26, 1996–January 5, 1997.
Le Japonisme en Amérique: oeuvres sur papier, 1880–1930 (Japonisme in America: Works on Paper, 1880–1930), Musée d'Art Américain Giverny, France (organizer). Venue: Musée d'Art Américain Giverny, France, September 15–November 30, 2002.
Modern Harmonies: Whistler Reflects on his Art, Terra Museum of American Art, Chicago, Illinois (organizer). Venue: Terra Museum of American Art, Chicago, Illinois, May 31–August 31, 2003.
The Studio of Nature, 1860-1910: The Terra Collection in Context (L’atelier de la Nature, 1860-1910. Invitation à la Terra Collection). Terra Foundation for American Art with the Musée des Impressionnismes Giverny (organizers). Venue: Musée des Impressionnismes Giverny, France, September 12, 2020–January 3, 2021. [exh. cat. in French]
Regard sur James Abbott McNeill Whistler (James Abbott McNeill Whistler at a Glance), Musée d'Art Américain Giverny, France (organizer). Venue: Musée d'Art Américain Giverny, France, April 1–October 30, 1994.
American Treasures: Chase, Whistler and the Prendergasts, Terra Museum of American Art, Chicago, Illinois (organizer). Venue: Terra Museum of American Art, Chicago, Illinois, April 26, 1996–January 5, 1997.
Le Japonisme en Amérique: oeuvres sur papier, 1880–1930 (Japonisme in America: Works on Paper, 1880–1930), Musée d'Art Américain Giverny, France (organizer). Venue: Musée d'Art Américain Giverny, France, September 15–November 30, 2002.
Modern Harmonies: Whistler Reflects on his Art, Terra Museum of American Art, Chicago, Illinois (organizer). Venue: Terra Museum of American Art, Chicago, Illinois, May 31–August 31, 2003.
The Studio of Nature, 1860-1910: The Terra Collection in Context (L’atelier de la Nature, 1860-1910. Invitation à la Terra Collection). Terra Foundation for American Art with the Musée des Impressionnismes Giverny (organizers). Venue: Musée des Impressionnismes Giverny, France, September 12, 2020–January 3, 2021. [exh. cat. in French]
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. 205 i/iv.
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. 53, pp. 120–21.
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. 212.
Dorment, Richard and Margaret F. MacDonald et al. James McNeill Whistler. (exh. cat., Tate Gallery). London, England: Tate Gallery, 1994. No. 115, p. 193–94.
Grieve, Alastair. Whistler's Venice. New Haven, Connecticut: Yale University Press, 2000. Text pp. 113, 114, 192; fig. 132, p. 112.
MacDonald, Margaret F. Palaces in the Night: Whistler in Venice. Hampshire, England: Lund Humphries, 2001. Text pp. 69, 79, 88, 120, 122; fig. 92, p. 80 (K.205 i), fig. 93, p. 81 (K.205 ii).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. 52; Pl. 34, p. 100 (color).
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. 53, pp. 120–21.
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. 212.
Dorment, Richard and Margaret F. MacDonald et al. James McNeill Whistler. (exh. cat., Tate Gallery). London, England: Tate Gallery, 1994. No. 115, p. 193–94.
Grieve, Alastair. Whistler's Venice. New Haven, Connecticut: Yale University Press, 2000. Text pp. 113, 114, 192; fig. 132, p. 112.
MacDonald, Margaret F. Palaces in the Night: Whistler in Venice. Hampshire, England: Lund Humphries, 2001. Text pp. 69, 79, 88, 120, 122; fig. 92, p. 80 (K.205 i), fig. 93, p. 81 (K.205 ii).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. 52; Pl. 34, p. 100 (color).