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:
6338:
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.
6320:
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
6356:
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:
6371:
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:
6565:
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:
6735:
4673:
2773:
7397:
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
7382:
6573:
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
6550:
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:
7352:
6464:
5174:
2343:"had become well enough acquainted with Whistler to base several fictional characters on the 'queer little Londonized Southerner,' most notably in
3286:
7367:
6510:
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.
6728:
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
17:
822:, "General upheaval!! I had to empty my house and purify it from cellar to eaves." He also immediately moved Hiffernan to another location.
7332:
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
7377:
7357:
7347:
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
6376:
5419:
7387:
6604:
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
7342:
6721:
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
7327:
6494:
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.
7312:
7297:
6542:
6502:
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
7322:
6361:
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:
6457:
6328:
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.
7372:
1406:
purchased the entire room in 1904 from Leyland's heirs, including Leyland's daughter and her husband, the British artist
419:
291:
6334:
Rudolf Wunderlich Collection of James McNeill Whistler Exhibition Catalogs at the Smithsonian's Archives of American Art
7302:
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:
6422:
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
6744:
6623:
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:
7307:
7282:
6450:
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:
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:
7392:
6891:
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:
6686:
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.
6426:
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
7026:
6653:
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
7317:
6966:
6961:
6406:
6345:
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
7151:
6841:
6658:
6518:
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:
6432:
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
7337:
7231:
6971:
6846:
6394:"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
7146:
7061:
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:
7166:
7136:
6866:
6826:
6801:
6713:
6648:
6596:
6349:
6333:
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:
7292:
7287:
7196:
7106:
7086:
7031:
6921:
6534:
6436:
6414:
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:
7211:
7181:
7091:
7066:
7006:
6946:
6896:
6881:
6702:
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:
7141:
6941:
6796:
6781:
6393:
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,
7362:
7201:
7156:
6991:
6981:
6926:
6911:
6876:
6761:
6643:
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
7041:
6996:
6931:
6861:
6776:
6669:
6588:
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
7261:
7256:
7241:
7176:
7126:
7111:
7021:
7001:
6836:
6821:
6786:
6324:
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:
6399:
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:
7251:
7246:
7206:
7171:
7116:
7071:
6986:
6906:
6901:
6831:
6816:
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:
7276:
7096:
7056:
7046:
7016:
7011:
6956:
6916:
6886:
6771:
6663:
6418:, 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:
7236:
7221:
7191:
7161:
7121:
7101:
7081:
7076:
6951:
6871:
6851:
6806:
6791:
6526:
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
7226:
7131:
7051:
6811:
6766:
6442:
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:
7186:
6976:
6856:
6756:
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,
7036:
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
6936:
4882:
2256:
1765:
1760:
1618:
1332:
1270:
1056:
rejected it, but then grudgingly accepted it after lobbying by Sir
930:
926:
136:
6386:
6337:
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:
6566:
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
6416:
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:
6743:
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
6400:
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
6410:, 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:
6503:
Rose and Silver: The Princess from the Land of Porcelain
6403:, 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
7274:
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
7398:Members of the Royal Society of British Artists
6574:Nocturne in Black and Gold – The Falling Rocket
6511: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
6551: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
6729:
6458:
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
6408:Whistler's Woman in White: Joanna Hiffernan
6387: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
7383:Hall of Fame for Great Americans inductees
6736:
6722:
6605:Mother of Pearl and Silver: The Andalusian
6589:Harmony in Blue and Gold: The Peacock Room
6472:
6465:
6451:
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
6495: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
7353: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:
7368:Vanity Fair (British magazine) artists
7275:
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:
6717:
6446:
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
6433:Whistler: Streetscapes, Urban Change
6423:Whistler: Streetscapes, Urban Change
6329: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
7333:American people of Scottish descent
6654:George Washington Whistler (father)
6543: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:
7378:American people of English descent
7358:Royal Society of Portrait Painters
7348:Artists from Lowell, Massachusetts
6659:William McNeill Whistler (brother)
6439:, 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:
7409:
7388:20th-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
7343:Officers of the Legion of Honour
6745:Hall of Fame for Great Americans
6624:The Gentle Art of Making Enemies
6362:The New Student's Reference Work
6336:
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:
7328: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:
7313:20th-century American painters
7298:19th-century American painters
6649:Anna McNeill Whistler (mother)
6372:Whistler, James Abbott McNeill
6357: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:
7323:American emigrants to England
6578:
6555:
6488: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
18:James Abbott McNeill Whistler
6687: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:
6427: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:
7414:
7373:American portrait painters
7027:Henry Wadsworth Longfellow
6429:, 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),
7303:19th-century male artists
6967:Oliver Wendell Holmes Jr.
6962:Oliver Wendell Holmes Sr.
6752:
6695:
6679:
6634:
6615:
6480:
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:
7152:William Tecumseh Sherman
6842:George Washington Carver
6644:Beatrice Whistler (wife)
6519: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
7232:John Greenleaf Whittier
6847:William Ellery Channing
6377:Encyclopædia Britannica
6323:April 22, 2021, at the
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
7308:American male painters
7283:James McNeill Whistler
7217:James McNeill Whistler
7147:Augustus Saint-Gaudens
7062:Matthew Fontaine Maury
6474:James McNeill Whistler
6391:Jennifer A. Thompson,
6380:(11th ed.). 1911.
6346: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
7167:Harriet Beecher Stowe
7137:Franklin D. Roosevelt
6867:James Fenimore Cooper
6827:William Cullen Bryant
6802:Alexander Graham Bell
6597:Portrait of Lady Meux
6350:Florence Earle Coates
6341: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
7393:Neo-Jacobite Revival
7197:Booker T. Washington
7107:Alice Freeman Palmer
7087:William T. G. Morton
7032:James Russell Lowell
6437: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
7212:George Westinghouse
7182:Henry David Thoreau
7092:John Lothrop Motley
7067:Albert A. Michelson
6947:Nathaniel Hawthorne
6897:Ralph Waldo Emerson
6882: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
7142:Theodore Roosevelt
7082:Samuel F. B. Morse
6942:Alexander Hamilton
6887:Thomas Alva Edison
6797:Henry Ward Beecher
6782: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
7270:
7269:
7202:George Washington
7157:John Philip Sousa
6992:Thomas J. Jackson
6982:Washington Irving
6927:William C. Gorgas
6912:Benjamin Franklin
6877:Charlotte Cushman
6762:John Quincy Adams
6711:
6710:
6703:Nocturne painting
6672:(model and lover)
6666:(model and lover)
6608:(1888–1900)
6535: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
7405:
7318:American etchers
7042:Edward MacDowell
6997:Thomas Jefferson
6932:Ulysses S. Grant
6892:Jonathan Edwards
6862:Grover Cleveland
6777:Susan B. Anthony
6738:
6731:
6724:
6715:
6714:
6670:Joanna Hiffernan
6583:
6580:
6560:
6557:
6467:
6460:
6453:
6444:
6443:
6381:
6366:
6340:
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:
7413:
7412:
7408:
7407:
7406:
7404:
7403:
7402:
7273:
7272:
7271:
7266:
7242:Frances Willard
7177:Sylvanus Thayer
7127:Edgar Allan Poe
7112:Francis Parkman
7022:Abraham Lincoln
7002:John Paul Jones
6922:Josiah W. Gibbs
6837:Andrew Carnegie
6822:Phillips Brooks
6787:George Bancroft
6748:
6742:
6712:
6707:
6691:
6675:
6636:
6630:
6611:
6592:(1876–77)
6581:
6558:
6522:(1865–67)
6514:(1864–65)
6506:(1863–65)
6476:
6471:
6369:
6354:
6325:Wayback Machine
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:
7411:
7401:
7400:
7395:
7390:
7385:
7380:
7375:
7370:
7365:
7360:
7355:
7350:
7345:
7340:
7338:Artist authors
7335:
7330:
7325:
7320:
7315:
7310:
7305:
7300:
7295:
7290:
7285:
7268:
7267:
7265:
7264:
7259:
7257:Orville Wright
7254:
7252:Woodrow Wilson
7249:
7247:Roger Williams
7244:
7239:
7234:
7229:
7224:
7219:
7214:
7209:
7207:Daniel Webster
7204:
7199:
7194:
7189:
7184:
7179:
7174:
7172:Gilbert Stuart
7169:
7164:
7159:
7154:
7149:
7144:
7139:
7134:
7129:
7124:
7119:
7117:George Peabody
7114:
7109:
7104:
7099:
7094:
7089:
7084:
7079:
7074:
7072:Maria Mitchell
7069:
7064:
7059:
7054:
7049:
7044:
7039:
7034:
7029:
7024:
7019:
7014:
7009:
7004:
6999:
6994:
6989:
6987:Andrew Jackson
6984:
6979:
6974:
6969:
6964:
6959:
6954:
6949:
6944:
6939:
6934:
6929:
6924:
6919:
6914:
6909:
6907:Stephen Foster
6904:
6902:David Farragut
6899:
6894:
6889:
6884:
6879:
6874:
6869:
6864:
6859:
6854:
6849:
6844:
6839:
6834:
6832:Luther Burbank
6829:
6824:
6819:
6817:Louis Brandeis
6814:
6809:
6804:
6799:
6794:
6789:
6784:
6779:
6774:
6769:
6764:
6759:
6753:
6750:
6749:
6741:
6740:
6733:
6726:
6718:
6709:
6708:
6706:
6705:
6699:
6697:
6693:
6692:
6690:
6689:
6683:
6681:
6677:
6676:
6674:
6673:
6667:
6661:
6656:
6651:
6646:
6640:
6638:
6632:
6631:
6629:
6628:
6619:
6617:
6613:
6612:
6610:
6609:
6601:
6593:
6585:
6570:
6562:
6547:
6539:
6531:
6523:
6515:
6507:
6499:
6491:
6484:
6482:
6478:
6477:
6470:
6469:
6462:
6455:
6447:
6441:
6440:
6430:
6420:
6412:
6404:
6389:
6384:
6383:
6382:
6367:
6352:
6331:
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:
9:
6:
4:
3:
2:
7410:
7399:
7396:
7394:
7391:
7389:
7386:
7384:
7381:
7379:
7376:
7374:
7371:
7369:
7366:
7364:
7361:
7359:
7356:
7354:
7351:
7349:
7346:
7344:
7341:
7339:
7336:
7334:
7331:
7329:
7326:
7324:
7321:
7319:
7316:
7314:
7311:
7309:
7306:
7304:
7301:
7299:
7296:
7294:
7291:
7289:
7286:
7284:
7281:
7280:
7278:
7263:
7262:Wilbur Wright
7260:
7258:
7255:
7253:
7250:
7248:
7245:
7243:
7240:
7238:
7235:
7233:
7230:
7228:
7225:
7223:
7220:
7218:
7215:
7213:
7210:
7208:
7205:
7203:
7200:
7198:
7195:
7193:
7190:
7188:
7185:
7183:
7180:
7178:
7175:
7173:
7170:
7168:
7165:
7163:
7160:
7158:
7155:
7153:
7150:
7148:
7145:
7143:
7140:
7138:
7135:
7133:
7130:
7128:
7125:
7123:
7120:
7118:
7115:
7113:
7110:
7108:
7105:
7103:
7100:
7098:
7097:Simon Newcomb
7095:
7093:
7090:
7088:
7085:
7083:
7080:
7078:
7075:
7073:
7070:
7068:
7065:
7063:
7060:
7058:
7057:John Marshall
7055:
7053:
7050:
7048:
7047:James Madison
7045:
7043:
7040:
7038:
7035:
7033:
7030:
7028:
7025:
7023:
7020:
7018:
7017:Robert E. Lee
7015:
7013:
7012:Sidney Lanier
7010:
7008:
7005:
7003:
7000:
6998:
6995:
6993:
6990:
6988:
6985:
6983:
6980:
6978:
6975:
6973:
6970:
6968:
6965:
6963:
6960:
6958:
6957:Patrick Henry
6955:
6953:
6950:
6948:
6945:
6943:
6940:
6938:
6935:
6933:
6930:
6928:
6925:
6923:
6920:
6918:
6917:Robert Fulton
6915:
6913:
6910:
6908:
6905:
6903:
6900:
6898:
6895:
6893:
6890:
6888:
6885:
6883:
6880:
6878:
6875:
6873:
6870:
6868:
6865:
6863:
6860:
6858:
6855:
6853:
6850:
6848:
6845:
6843:
6840:
6838:
6835:
6833:
6830:
6828:
6825:
6823:
6820:
6818:
6815:
6813:
6810:
6808:
6805:
6803:
6800:
6798:
6795:
6793:
6790:
6788:
6785:
6783:
6780:
6778:
6775:
6773:
6772:Louis Agassiz
6770:
6768:
6765:
6763:
6760:
6758:
6755:
6754:
6751:
6746:
6739:
6734:
6732:
6727:
6725:
6720:
6719:
6716:
6704:
6701:
6700:
6698:
6694:
6688:
6685:
6684:
6682:
6678:
6671:
6668:
6665:
6664:Maud Franklin
6662:
6660:
6657:
6655:
6652:
6650:
6647:
6645:
6642:
6641:
6639:
6637:relationships
6633:
6626:
6625:
6621:
6620:
6618:
6614:
6607:
6606:
6602:
6599:
6598:
6594:
6591:
6590:
6586:
6576:
6575:
6571:
6568:
6567:
6563:
6553:
6552:
6548:
6545:
6544:
6540:
6537:
6536:
6532:
6529:
6528:
6524:
6521:
6520:
6516:
6513:
6512:
6508:
6505:
6504:
6500:
6497:
6496:
6492:
6489:
6486:
6485:
6483:
6479:
6475:
6468:
6463:
6461:
6456:
6454:
6449:
6448:
6445:
6438:
6434:
6431:
6428:
6424:
6421:
6419:
6417:
6413:
6411:
6409:
6405:
6402:
6401:
6396:
6395:
6390:
6388:
6385:
6379:
6378:
6373:
6368:
6364:
6363:
6358:
6353:
6351:
6347:
6343:
6342:
6339:
6335:
6332:
6330:
6326:
6322:
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:
7237:Emma Willard
7222:Walt Whitman
7216:
7192:Lillian Wald
7162:Joseph Story
7122:William Penn
7102:Thomas Paine
7077:James Monroe
6972:Mark Hopkins
6952:Joseph Henry
6872:Peter Cooper
6852:Rufus Choate
6807:Daniel Boone
6792:Clara Barton
6622:
6603:
6595:
6587:
6572:
6564:
6549:
6541:
6533:
6527:Sea and Rain
6525:
6517:
6509:
6501:
6493:
6487:
6473:
6415:
6407:
6398:
6392:
6375:
6360:
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:
7293:1903 deaths
7288:1834 births
7227:Eli Whitney
7132:Walter Reed
7052:Horace Mann
6812:Edwin Booth
6767:Jane Addams
6582: 1875
6559: 1872
6348:," 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
7277:Categories
7187:Mark Twain
7007:James Kent
6977:Elias Howe
6857:Henry Clay
6757:John Adams
6635: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
7037:Mary Lyon
6747:inductees
6481: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
7363:Tonalism
6937:Asa Gray
6321:Archived
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
6696:Related
6680:Museums
6365:. 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:
6627:(1890)
6600:(1881)
6569:(1873)
6546:(1871)
6538:(1871)
6530:(1865)
6498:(1862)
6490:(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
6616: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
6435:at
6425:at
6397:in
6374:".
6359:".
6327: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
7279::
6579:c.
6556: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.
6737:e
6730:t
6723:v
6584:)
6577:(
6561:)
6554:(
6466:e
6459:t
6452:v
6370:"
6355:"
6344:"
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.