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James Abbott McNeill Whistler
Date: 1859
Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection
Object number: 1995.4
Text Entries: Kennedy, Edward Guthrie. <i>The Etched Work of Whistler. Illustrated by reproductions in collotype of the different states of the plates</i>. New York: Grolier Club, 1910. No. 46.<br><br> Fryberger, Betsy G. <i>Whistler: Themes and Variations</i>. (exh. cat., Stanford University Museum of Art). Stanford, California: Stanford Art Book, 1978. No. 6, p. 19.<br><br> Fine, Ruth E. <i>Drawing Near: Whistler Etchings from the Zelman Collection</i>. (exh. cat., Los Angeles County Museum of Art). Los Angeles, California: Los Angeles County Museum of Art, 1984. No. 17, pp. 56–57.<br><br> Lochnan, Katharine A. <i>The Etchings of James McNeill Whistler</i>. New Haven, Connecticut and London, England: Art Gallery of Ontario and Yale University Press, 1984. No. 49.<br><br> Dorment, Richard and Margaret F. MacDonald et al. <i>James McNeill Whistler</i>. (exh. cat., Tate Gallery). London, England: Tate Gallery, 1994. No. 31, pp. 101–102.<br><br> McNamara, Carole and John Siewert. <i>Whistler: Prosaic Views, Poetic Vision</i>. (exh. cat., University of Michigan Museum of Art). Ann Arbor, Michigan: University of Michigan Museum of Art, 1994. No. 14, pp. 54–55.
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James Abbott McNeill Whistler
Date: 1860
Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection
Object number: 1995.5
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.
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James Abbott McNeill Whistler
Date: 1860
Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection
Object number: 1995.53
Text Entries: Brownell, William C. "Whistler in Painting and Etching." <i>Scribner's Monthly</i> 18:4 (August 1879): 486–90, 493–95. Ill. p. 488.<br><br> Mansfield, Howard. <i>A Descriptive Catalogue of the Etchings and Dry-points of James Abbott McNeill Whistler</i>. Chicago, Illinois: Caxton Club, 1909. No. 65.<br><br> Kennedy, Edward Guthrie. <i>The Etched Work of Whistler. Illustrated by reproductions in collotype of the different states of the plates</i>. New York: Grolier Club, 1910. No. 65, i/iii.<br><br> Lochnan, Katharine A. <i>The Etchings of James McNeill Whistler</i>. New Haven, Connecticut and London, England: Art Gallery of Ontario and Yale University Press, 1984. No. 69.<br><br> Bourguignon, Katherine M. and Elizabeth Kennedy. <i>The People Work: American Perspectives, 1840–1940</i>. (exh. cat., Terra Museum of American Art). Chicago, Illinois: Terra Foundation for the Arts, 2003. Text pp. 24, 30 (checklist); fig. 13, p. 24 (black & white). [specific reference to Terra print]<br><br> Bourguignon, Katherine M. and Elizabeth Kennedy. <i>Le Travail à l'oeuvre: les artistes américains, 1840–1940</i>. (exh. cat., Terra Museum of American Art). Chicago, Illinois: Terra Foundation for the Arts, 2003. Text pp. 24, 30 (checklist); fig. 13, p. 24 (black & white). [specific reference to Terra print]
Maud, Standing
James Abbott McNeill Whistler
Date: c. 1873
Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection
Object number: 1999.148
Text Entries: Kennedy, Edward Guthrie. <i>The Etched Work of Whistler. Illustrated by reproductions in collotype of the different states of the plates</i>. New York: Grolier Club, 1910. No. 114 ix/xii<br><br> Lochnan, Katharine A. <i>The Etchings of James McNeill Whistler</i>. New Haven, Connecticut and London, England: Art Gallery of Ontario and Yale University Press, 1984. No. 118.<br><br> <i>Regard sur cinq années d'expositions</i> (<i>Five years of Exhibitions at a Glance</i>). Chicago, Illinois: Terra Foundation for the Arts, 1997. Text pp. 75–76; ill. p. 74 (color). [specific reference to Terra print]<br><br> MacDonald, Margaret F., Susan Grace Galassi, and Aileen Ribeiro with Patricia de Montfort. <i>Whistler, Women and Fashion</i>. (exh. cat., The Frick Collection). New York: The Frick Collection in association with Yale University Press, New Haven and London, 2003. Text p. 139; fig. 130, p. 141.<br><br> Tedeschi, Martha and Britt Salvesen. "Songs on Stone: James McNeill Whistler and the Art of Lithography." <i>Museum Studies</i> 24:1 (1998): 4–135. Text pp. 23, 31 (checklist); fig. 2, p. 23 (black & white). [specific reference to Terra print]<br><br> Lecomte, Vanessa, editor. <i>Portrait of a Lady : peinture et photographies américains </i> (exh. cat., Musée d'Art Américain Giverny and Musée des beaux-arts de Bordeaux). Chicago, Illinois: Terra Foundation for American Art, 2008. Text (checklist) p. 95.
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James Abbott McNeill Whistler
Date: c. 1873
Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection
Object number: 1989.8
Text Entries: Whistler's Muses The women in James McNeill Whistler's life were often his subjects. His most famous work of art is the portrait of his mother. Whistler's favorite models were also often his mistresses. Around 1870, Maud Franklin replaced long-term companion Joanna Hiffernan, who is immortalized in Symphony in White, No. 1: The White Girl, 1862 (Washington D. C., National Gallery of Art). Beatrice (or Trixie) Godwin, the widow of a friend, married Whistler in 1888. A devoted couple, the artist was bereft when she died in 1896. Known for a violent temper and her English appearance, Maud Franklin was intelligent and sophisticated, but highly independent and very jealous although devoted to Whistler. Calling herself Mrs. Whistler, she lived with the artist for approximately fifteen years becoming his business manager, agent, housekeeper, cook, and adviser. Depictions of Franklin appear in all Whistler's media and hint at her sustained role as his muse. While her fashionable attire is carefully portrayed in Maud, Standing and Maud on a Stairway, it is her pose in both that commands our interest. Dynamic color and expressive brushwork dominate in Note in Red: The Siesta where Franklin is shown resting-her strong personality subdued in a decorative pattern.
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James Abbott McNeill Whistler
Date: c. 1883
Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection
Object number: 1992.152
Text Entries: Thought to depict a coastline in England, this work is executed with thin washes of paint and slight tonal variation that often characterize James McNeill Whistler's small seascapes of the period. Whistler's brushwork is almost imperceptible except in a few waves and the clouds overhead. These elements and the vertical masts and lone figure on the beach punctuate the horizontal bands of Whistler's composition. The boats that are cropped on the left and right edges of the work also lend a sense of captured motion, their partial inclusion suggesting that they were in Whistler's sight line when a "freshening breeze" stirred the scene.
Metadata Embedded, 2017
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." <i>British Architect</i> (February 4, 1881): 59-64. Text.<br><br> <i>Pan</i> (February 5, 1881).<br><br> <i>Queen</i> (February 12, 1881).<br><br> Godwin, E. W. "With Whistler's Critics." <i>British Architect</i> (February 25, 1881): 98–99. <br><br> Way, T. R. <i>Memories of James McNeill Whistler, the Artist</i>. London, England: John Lane, 1912. Ill. following p. 52.<br><br> Stebbins, Theodore E., Jr. <i>American Master Drawings & Watercolors</i>. (exh. cat., The American Federation of the Arts). New York: Harper & Row, 1976. Text p. 226; fig. 184, p. 225 (color as <i>The Little Riva, in Opal</i>). <br><br> MacDonald, Margaret F. <i>Notes, Harmonies & Nocturnes: Small Works by James McNeill Whistler</i>. (exh. cat., M. Knoedler & Company, Inc.). New York: M. Knoedler & Company, Inc., 1984. Ill. no. 81, p. 64 (black & white). <br><br> Atkinson, D. Scott et al. <i>A Proud Heritage: Two Centuries of American Art</i>. 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).<br><br> Getscher, Robert. <i>James Abbott McNeill Whistler: Pastels</i>. New York: G. Braziller, 1991. Text p. 74; ill. p. 75 (color).<br><br> Dorment, Richard and Margaret F. MacDonald et al. <i>James McNeill Whistler</i>. (exh. cat., Tate Gallery). London, England: Tate Gallery, 1994. Text no. 112, p. 190; ill. no. 112, p. 191 (color).<br><br> MacDonald, Margaret F. <i>James McNeill Whistler: Drawings, Pastels, and Watercolours; A Catalogue Raisonné</i>. New Haven, Connecticut and London, England: Yale University Press, 1995. Text no. 774, pp. 285–86; ill. no. 774, p. 286 (color).<br><br> MacDonald, Margaret F. "Whistler on Exhibition." <i>The Magazine Antiques</i> 147:6 (June 1995): 864–73. Text p. 869; pl. XI, p. 870 (color).<br><br> Grieve, Alastair. <i>Whistler's Venice</i>. New Haven, Connecticut and London, England: Yale University Press, 2000. Text p. 76; fig. 78, p. 76 (color).<br><br> MacDonald, Margaret F. <i>Places in the Night: Whistler in Venice</i>. Hampshire, England: Lund Humphries, 2001. Text pp. 49, 52; ill. no. 55, p. 50 (color).<br><br> Stratis, Harriet K. and Britt Salvesen, eds. <i>The Broad Spectrum: Studies in the Materials, Techniques, and Conservation of Color on Paper</i>. London, England: Archetype Publications, 2002. Text p. 38; fig. 1.27, p. 38 (color).<br><br> Bourguignon, Katherine M. and Elizabeth Kennedy. <i>An American Point of View: The Daniel J. Terra Collection</i>. Chicago, Illinois: Terra Foundation for the Arts, 2002. Text pp. 104, 108, 206; ill. pp. 105 (color), 206 (black & white).<br><br> Bourguignon, Katherine M. and Elizabeth Kennedy. <i>Un regard transatlantique. La collection d'art américain de Daniel J. Terra</i>. Chicago, Illinois: Terra Foundation for the Arts, 2002. Text pp. 104, 108, 206; ill. pp. 105 (color), 206 (black & white).<br><br> Hofelt, Miranda. <i>The Zattere: Harmony in Blue and Brown, </i>James McNeill Whistler. Collection Cameo sheet, Terra Museum of American Art, Chicago, Illinois, July 2003. Ill. (color).<br><br> Harris, Neil et al. <i>L'art américain: Identités d'une nation</i>. 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).<br><br> Cleveland, David A. <I>A History of American Tonalism: 1880–1920</i>. Manchester, Vermont: Hudson Hills Press, 2010. Text, p. 140; ill. fig. 3.68, p. 140 (color). Bourguignon, Katherine M., and Peter John Brownlee, eds. <i>Conversations with the Collection: A Terra Foundation Collection Handbook.</i> Chicago: Terra Foundation for American Art, 2018. Text p. 128; ill. p. 128 (color).<br><br>
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James Abbott McNeill Whistler
Date: c. 1881
Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection
Object number: 1994.9
Text Entries: <i>Art in Prints</i> 7. New York: Kennedy Galleries, May 1970. Ill. p. 25 (as <i>Gay Padgett later Duchess of Plymouth</i>).<br><br> MacDonald, Margaret F. <i>James McNeill Whistler: Drawings, Pastels, and Watercolours; A Catalogue Raisonné</i>. New Haven, Connecticut and London, England: Yale University Press, 1995. Text no. 854, pp. 321–22; ill. no. 854, p. 322 (black & white).
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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. <i>Mr. Whistler's Lithographs: The Catalogue</i>. 2nd ed. New York: H. Wunderlich & Company, 1905. No. 5.<br><br>Levy, Mervyn. <i>Whistler Lithographs: An Illustrated Catalogue Raisonné</i>. London, England: Jupiter Books, 1975. No. 10.<br><br>Hobbs, Susan and Nesta R. Spink. <i>Lithographs of James McNeill Whistler from the Collection of Steven Louis Block</i>. (exh. cat., Smithsonian Institution Traveling Exhibition Service). Washington, D. C.: Smithsonian Institution Traveling Exhibition Service, 1982. Text pp. 8, 9; no. 3. <br><br>Adams, Clinton. <i>American Lithographers 1900–1960: The Artists and Their Printers</i>. Albuquerque, New Mexico: The University of New Mexico Press, 1983. Text p. 8.<br><br>Lochnan, Katharine A. <i>Whistler and His Circle: Etchings and Lithographs from the Collection of the Art Gallery of Ontario</i>. (exh. cat., Kitchener/Waterloo Art Gallery). Toronto, Ontario: The Gallery, 1986. No. 23, pp. 46–47. <br><br>Dorment, Richard and Margaret F. MacDonald et al. <i>James McNeill Whistler</i>. (exh. cat., Tate Gallery). London, England: Tate Gallery, 1994. No. 53, p. 129.<br><br>Stratis, Harriet K. and Martha Tedeschi, eds. <i>The Lithographs of James McNeill Whistler. Vol. 1. A Catalogue Raisonné</i>. Chicago, Illinois: The Art Institute of Chicago, 1998. No. 8, pp. 63–66.<br><br>Cartwright, Derrick R. <i>Waves and Waterways: American Perspectives, 1850–1900</i>. (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]<br><br>Cartwright, Derrick R. <i>Rivières et rivages: les artistes américains, 1850–1900</i>. (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]<br><br> <i>Pathways to Modernism: American Art, 1865–1945</i>. (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).<br><br> Bourguignon, Katherine and Valerie Reis. <i>The Studio of Nature, 1860-1910: The Terra Collection in Context</i>. (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).<br><br>
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James Abbott McNeill Whistler
Date: 1879–80
Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection
Object number: 1992.145
Text Entries: Kennedy, Edward Guthrie. <i>The Etched Work of Whistler</i>. Illustrated by reproductions in collotype of the different states of the plates. New York: Grolier Club, 1910. No. 198 vii/viii.<br><br> Lochnan, Katharine A. <i>The Etchings of James McNeill Whistler</i>. New Haven, Connecticut and London, England: Art Gallery of Ontario and Yale University Press, 1984. No. 223.
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James Abbott McNeill Whistler
Date: 1879–80
Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection
Object number: 1992.149
Text Entries: Kennedy, Edward Guthrie. <i>The Etched Work of Whistler</i>. Illustrated by reproductions in collotype of the different states of the plates. New York: Grolier Club, 1910. No. 196 vi/ix.<br><br>Lochnan, Katharine A. <i>The Etchings of James McNeill Whistler.</i> New Haven, Connecticut and London, England: Art Gallery of Ontario and Yale University Press, 1984. No. 213.<br><br>Grieve, Alastair. <i>Whistler's Venice.</i> New Haven, Connecticut, and London, England: Yale University Press, 2000. Text pp. 131, 192; fig. 159, p. 130 (K.196 vii).Bourguignon, Katherine and Valerie Reis. <i>The Studio of Nature, 1860-1910: The Terra Collection in Context</i>. (exh. cat, Terra Foundation for American Art with the Musée des Impressionnismes Giverny). Paris, France: Réunion des musées nationaux, 2020.  Text p. 52; Ill. p. 96 (detail); Pl. 31, p. 97 (color).<br><br>
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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. <i>The Etched Work of Whistler</i>. Illustrated by reproductions in collotype of the different states of the plates. New York: Grolier Club, 1910. No. 208 iii/v.<br><br> Fine, Ruth E. <i>Drawing Near: Whistler Etchings from the Zelman Collection</i>. (exh. cat., Los Angeles County Museum of Art). Los Angeles, California: Los Angeles County Museum of Art, 1984. No. 64, pp. 140–41.<br><br> Lochnan, Katharine A. <i>The Etchings of James McNeill Whistler</i>. New Haven, Connecticut and London, England: Art Gallery of Ontario and Yale University Press, 1984. No. 216.<br><br> Grieve, Alastair. <i>Whistler's Venice</i>. New Haven, Connecticut: Yale University Press, 2000. Text pp. 138, 139, 192; fig. 171.<br><br> MacDonald, Margaret F. <i>Palaces in the Night: Whistler in Venice</i>. Hampshire, England: Lund Humphries, 2001. Text pp. 68, 120.