James McNeill Whistler

6242: 2601: 2529: 1768:, 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. 2491: 2691: 2455: 2547: 2619: 2745: 1992: 2727: 2509: 2473: 1818: 702: 1196: 2763: 1342: 2202: 1923:(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 528: 2655: 1158: 1231:

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.

2583: 715: 2637: 2565: 1632: 2673: 1566: 2709: 1744: 1073: 846: 2286: 2046:, 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. 33: 1029: 997: 1282: 2010: 866:, 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. 1981: 6327: 1714:". 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. 949:, 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. 1685:

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

1065:. 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 1037:

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.

1619:(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 1241: 392: 2193:(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. 1697:

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.

1025:. 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. 1677:, 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 1962: 780:. 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. 2324:

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.

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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

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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

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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

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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

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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

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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

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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

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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

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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

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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

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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,

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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

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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

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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

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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

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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

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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

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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

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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

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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

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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

1095:. 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. 546:

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

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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

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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

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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

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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

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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

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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

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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

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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.

1262:. 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 1908:, 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 2028:

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."

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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

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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.

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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

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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.

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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

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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

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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

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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

2224:, 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 1798:

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

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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

2268:, 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 1681:. 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." 2362:

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

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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

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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.

1184:(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). 2160:

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'.

2228:, 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. 637:, 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. 934:", 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 1897:, 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 673:

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

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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

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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

559:, 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 567:, 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 2276:

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

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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

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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

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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.

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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

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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

503:." 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. 980:

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.

1836:, 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 1213:. 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. 1874:

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.

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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

6345: 437:, 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. 976:, 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 1419:

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

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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

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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

678:. 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. 4026: 804:, 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. 2618: 6360: 5462:. 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. 5137: 6554: 1304:

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

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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.

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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

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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.

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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

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lecture into French, helped strengthen respect for Whistler by the French public. Whistler was friendly with his fellow students at Gleyre's studio, including

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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

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Two years later, Whistler painted another portrait of Hiffernan in white, this time displaying his newfound interest in Asian motifs, which he entitled

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Letter from James McNeill Whistler to Beatrix Whistler, March 3, 1895, University of Glasgow, Special Collections, reference: GB 0247 MS Whistler W620.

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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

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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.

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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:

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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

811:, "General upheaval!! I had to empty my house and purify it from cellar to eaves." He also immediately moved Hiffernan to another location. 7321: 4030: 3963: 2851: 587:

through France and the Rhineland. He later produced a group of etchings known as "The French Set", with the help of French master printer

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By 1871, Whistler returned to portraits and soon produced his most famous painting, the nearly monochromatic full-length figure entitled

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city—focusing on the back alleys, side canals, entrance ways, and architectural patterns—and capturing the city's unique atmospherics.

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The Franco-Prussian War of 1870 fragmented the French art community. Many artists took refuge in England, joining Whistler, including

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that he was drawing sea serpents, mermaids, and whales on the margins of the maps, he was transferred to the etching division of the

3000: 1954:. She spent the rest of her life defending his reputation and managing his art and effects, much of which eventually was donated to 7316: 6483: 2900: 1840:, creating a series featuring London architecture and the human figure, mostly female nudes. He contributed the first three of his 728: 706: 641:, one of the first to explore translation qualities among art and music, may have inspired Whistler to view art in musical terms. 7301: 7286: 6531: 6491: 6290: 1860: 1387: 517: 4169: 4123: 433:

In 1847–1848, his family spent some time in London with relatives, while his father stayed in Russia. Whistler's brother-in-law

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Whistler's reputation in London and Paris was rising and he gained positive reviews from critics and new commissions. His book

1717:

Though differing with Whistler on several points, including his insistence that poetry was a higher form of art than painting,

1931:

in London on July 17, 1903, six days after his 69th birthday. He is buried in Chiswick Old Cemetery in west London, adjoining

495:

His departure from West Point seems to have been precipitated by a failure in a chemistry exam where he was asked to describe

356:

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."

6113: 6102: 6021: 6003: 5966: 5846: 5831: 5673: 5658: 5529: 5383: 5319: 5269: 5254: 5234: 2672: 1700:

In January 1881, his mother Anna Whistler died. In her honour, he publicly adopted her maiden name McNeill as a middle name.

1362:

is Whistler's masterpiece of interior decorative mural art. Painted in 1876–1877, it is now considered a high example of the

4659: 2708: 6446: 6317: 6296: 4963: 4941: 4691: 956:

invited Whistler to exhibit with the first show by the Impressionists in 1874, Whistler turned down the invitation, as did

6223: 1916:

bronzes, and possessed the second-largest and most important Whistler collection in the world prior to his death in 1914.

693:. At this stage, he was beginning to establish his technique of tonal harmony based on a limited, predetermined palette. 7361: 1395:

purchased the entire room in 1904 from Leyland's heirs, including Leyland's daughter and her husband, the British artist

408: 280: 6323:

Rudolf Wunderlich Collection of James McNeill Whistler Exhibition Catalogs at the Smithsonian's Archives of American Art

7291: 6166: 6068: 5861: 1817: 1765: 1492:, "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 1424: 1001: 6411: 1805:, so that the event received publicity. The couple left soon after for Paris, to avoid any risk of a scene with Maud. 1555:

Whistler: "Oh, I 'knock one off' possibly in a couple of days – one day to do the work and another to finish it ..."

6181: 6129: 6043: 5985: 5951: 5921: 5906: 5891: 5876: 5816: 5801: 5786: 5771: 5722: 5707: 5689: 5639: 5619: 5596: 5578: 5563: 5545: 5514: 5499: 5430: 5368: 5354: 5339: 4479: 4431: 4179: 3859: 3745: 3545:"Settlement and building: Artists and Chelsea Pages 102–106 A History of the County of Middlesex: Volume 12, Chelsea" 3134: 2925: 2272:

movement in Australia, otherwise known as Australian impressionism. As American critic Charles Caffin wrote in 1907:

1316:

Whistler's famous butterfly signature first developed in the 1860s out of his interest in Asian art. He studied the

6733: 6612: 5098: 2144:, also posed for Gustave Courbet. Historians speculate that Courbet used her as the model for his erotic paintings 1946:, printmaker and art critic respectively. The Pennells' vast collection of Whistler material was bequeathed to the 1810: 1761: 1615: 750:, a popular novel of the time, or various other literary sources. In England, some considered it a painting in the 217: 6213: 7296: 7271: 6439: 6194: 6158: 942:

gave Whistler the opportunity to explain his evolving "theory in art" to artists, buyers, and critics in France.

914:(c. 1872), and he also began to re-title many of his earlier works using terms associated with music, such as a " 3088: 6147: 470: 92: 5398: 5197: 4890: 2344:". Whistler "also appeared as one of Henry James's most attractive minor characters, the sculptor Gloriani in 1423:– a pun on Leyland's miserliness and fondness for frilly shirt fronts – is in the permanent collection of the 701: 7381: 6880: 6269: 5419: 3777:"She's ba-aack: 'Whistler's Mother,' a more exciting painting than you might think, returns to Art Institute" 2167:

In 1888, Whistler married Beatrice Godwin, whom he called Beatrix or Trixie. She was the widow of his friend

1341: 1091:

in the United States, the picture was billed as a "million dollar" painting and was a big hit at the 1933–34

333: 776: 6675: 6051:

James McNeill Whistler: A Biographical Outline Illustrated from the Collections of the Freer Gallery of Art

5732: 3613: 2418: 2402: 2398: 2201: 1932: 1267: 349: 188: 2978: 797:, both completed in 1864, again portray his mistress, in even more emphatic Asian dress and surroundings. 6415: 5466: 1734:. Later, Wilde "symbolically murdered Whistler", basing Basil Hallward, the murdered artist in his novel 1600: 1195: 1157: 480: 6172:

Young, Andrew McLaren; MacDonald, Margaret; Spencer, Robin; with the assistance of Hamish Miles (1980).

1783:(GLAHA 46315). By the summer of 1888 Whistler and Beatrice appeared in public as a couple. At a dinner 7015: 6642: 3279: 2118: 1736: 1693:

who emulated Whistler's vision of the city and later spread his methods and influence back to America.

1454: 1289: 890: 746: 376: 372: 314: 166: 5841:. Washington, D.C.: National Gallery of Art and London: Royal Academy of Arts/ Yale University Press. 3242: 1623:, just after Whistler declared bankruptcy. Whistler always blamed Leyland for his financial downfall. 1481: 527: 403:

to design a railroad in Russia. The Emperor learned of George Whistler's ingenuity in engineering the

7306: 6955: 6950: 6395: 6334: 1894: 1846: 1576: 1396: 1374:(1827–1881), in a unified palette of brilliant blue-greens with over-glazing and metallic gold leaf. 42: 5121: 4470:

Margaret F. McDonald, "Whistler for President!", in Richard Dorment and Margaret F. McDonald, eds.,

4027:"FRAME|WORK: The Gold Scab: Eruption in Frilthy Lucre (The Creditor) by James McNeill Whistler" 2950:

The Correspondence of James McNeill Whistler, Glasgow University Library, reference MS Whistler W458

869:

After he returned to London, he painted several more nocturnes over the next ten years, many of the

7140: 6830: 6647: 6507: 2792:, an etching and drypoint printed in black on warm, cream Japan paper, 1879–80 sold for $ 282,000. 1943: 1528: 1404: 874: 737: 445:

direction, "I hope, dear father, you will not object to my choice." His father, however, died from

415: 318: 6421: 714: 661:

in 1859 in London, which he adopted as his home, while also regularly visiting friends in France.

583:

Conditions improved during the summer of 1858. Whistler recovered and traveled with fellow artist

542:

At this point, Whistler firmly decided that art would be his future. For a few months he lived in

414:

After moving to St. Petersburg, the young Whistler took private art lessons, then enrolled in the

7326: 7220: 6960: 6835: 6383:"Purple and Rose: The Lange Leizen of the Six Marks by James Abbott McNeill Whistler (cat. 1112)" 2963:

The Correspondence of James McNeill Whistler, Glasgow University Library, reference Whistler W552

2040:

of Paris, and they were often the "talk of the town". They frequently appeared as caricatures in

1905: 1584: 1416: 1203: 423: 383:

now stands. They lived in Springfield until they left the United States for Russia in late 1842.

364: 5102: 4928:(Frick Collection, New York, in association with Yale University Press, New Haven, 2003), p. 79. 3967: 2827: 2439:

A statue of James McNeill Whistler by Nicholas Dimbleby was erected in 2005 at the north end of

7135: 7050: 5072: 2855: 2369: 2180: 2114: 2063: 1951: 1867: 1794:

The marriage ceremony was quickly arranged; as a member of Parliament, Labouchère arranged for

1509: 1300: 1295:

The etchings include portraits of family, mistresses, and intimate street scenes in London and

650: 380: 353: 5451: 4421: 3544: 2425: 2032:

Whistler was well known for his biting wit, especially in exchanges with his friend and rival

195: 7155: 7125: 6855: 6815: 6790: 6702: 6637: 6585: 6338: 6322: 6208: 6097:, edited by Christopher D. M. Atkins. A Philadelphia Museum of Art free digital publication. 6009: 5933: 4986:"Biography of Rosalind Birnie Philip, (1873–1958) University of Glasgow, Special Collections" 2249: 2209: 2168: 2152: 2094: 1825: 1801: 1776: 1711: 1690: 1599:, which had organized a collection to pay for Ruskin's legal costs, supported him in etching 1592: 1489: 1214: 1106:

wrote that it "remains the most important American work residing outside the United States."

434: 340:. He adopted his mother's maiden name after she died, using it as an additional middle name. 310: 306: 267: 171: 56: 5600: 5083: 3883: 3471: 1775:(also called Beatrix or Trixie), a former pupil and the widow of his late friend, architect 1704: 1631: 774:

Whistler's painting was widely noticed, although upstaged by Manet's more shocking painting

593: 469:. However, it became clear that a career in religion did not suit him, so he applied to the 391: 7281: 7276: 7185: 7095: 7075: 7020: 6910: 6523: 6425: 6403: 6056: 2852:"Image gallery of some of Whistler's well-known paintings and others by his contemporaries" 2801: 2311: 2265: 2002: 1852: 1412: 1363: 1353: 1062: 991: 894: 556: 535: 450: 400: 329: 113: 1938:

Whistler was the subject of a 1908 biography by his friends, the husband-and-wife team of

1209:

Whistler was not so successful a portrait painter as the other famous expatriate American

863: 760: 670:. It was displayed at the Royal Academy the following year, and in many exhibits to come. 638: 8: 7200: 7170: 7080: 7055: 6995: 6935: 6885: 6870: 6691: 5287: 4260: 2257: 2253: 2216:

Whistler was inspired by and incorporated many sources in his art, including the work of

2078: 1947: 1913: 1379: 1210: 1092: 1057:

in endless variations in greeting cards and magazines, and by cartoon characters such as

946: 939: 840: 808: 619: 607: 368: 275: 6280:

James McNeill Whistler: The Paintings, a Catalogue Raisonné, University of Glasgow, 2014

1788: 1066: 1010: 7130: 6930: 6785: 6770: 6382: 6140:

Whistler and His Mother: An Unexpected Relationship: Secrets of an American Masterpiece

5901:. New York: Hyperion Books for Children, in association with the Freer Gallery of Art. 5478: 5224: 2225: 2176: 2049:

Whistler reveled in preparing and managing his social gatherings. As a guest observed:

1955: 1909: 1833: 1501: 1450: 1392: 1177: 736:

was created as a simple study in white; however, others saw it differently. The critic

634: 411:. The rest of the family moved to St. Petersburg to join him in the winter of 1842/43. 337: 6085: 2221: 1565: 1028: 960:, and some scholars attributed this in part to Fantin-Latour's influence on both men. 740:

thought the painting an allegory of a new bride's lost innocence. Others linked it to

726:

In 1861, after returning to Paris for a time, Whistler painted his first famous work,

7351: 7190: 7145: 6980: 6970: 6915: 6900: 6865: 6750: 6632: 6279: 6237: 6177: 6162: 6143: 6125: 6109: 6098: 6064: 6039: 6017: 5999: 5981: 5962: 5947: 5943: 5917: 5902: 5887: 5872: 5857: 5842: 5827: 5812: 5797: 5782: 5767: 5718: 5703: 5685: 5669: 5654: 5635: 5615: 5592: 5574: 5559: 5541: 5525: 5510: 5495: 5426: 5397: 5393: 5379: 5364: 5350: 5335: 5325: 5315: 5309: 5275: 5265: 5250: 5240: 5230: 4475: 4427: 4175: 4127: 3855: 3741: 3250: 3130: 2921: 2515: 2353: 2269: 2187:

posed for many of Whistler's paintings and drawings; with Ethel Whibley modeling for

2017: 1879: 1772: 1446: 1128: 137: 2397:

The Lowell, Massachusetts, house in which Whistler was born is now preserved as the

1919:

In May 1901, Canfield commissioned a portrait from Whistler; he started to pose for

1181: 1072: 722:, Department of Image Collections, National Gallery of Art Library, Washington, D.C. 719: 418:

at age eleven. The young artist followed the traditional curriculum of drawing from

407:

for the Boston & Albany Railroad, and he offered him a position engineering the

250:; July 10, 1834 – July 17, 1903) was an American painter in oils and 7030: 6985: 6920: 6850: 6765: 6658: 6577: 6246: 5939: 5538:

The Street of Wonderful Possibilities: Whistler, Wilde & Sargent in Tite Street

5492:

Diabolical Designs: Paintings, Interiors, and Exhibitions of James McNeill Whistler

5032: 4942:"Biography of Ethel Whibley (1861–1920) University of Glasgow, Special Collections" 2913: 2806: 2440: 2316: 2285: 2141: 2059: 2042: 1967: 1924: 1771:

With his relationship with Maud Franklin unraveling, Whistler suddenly proposed to

1764:

in 1884, and on June 1, 1886, he was elected president. The following year, during

1656: 1596: 1561:

Whistler: "No, I ask it for the knowledge I have gained in the work of a lifetime."

1471:

For Mr. Whistler's own sake, no less than for the protection of the purchaser, Sir

1336: 1103: 1088: 969: 935: 845: 733: 610:, whom he met at the Louvre. Through him, Whistler was introduced to the circle of 475: 224: 5019:

Sickert worked hard with Whistler on his "Ten O'Clock" lecture. Sturgis, Matthew,

2935: 2156:, possibly leading to the breakup of the friendship between Whistler and Courbet. 2121:. His close friendships with Monet and poet Stéphane Mallarmé, who translated the 2098: 1743: 1192:

it, and is more interested, perhaps, in the general effect than in any one work."

957: 627: 449:

at the age of 49, and the Whistler family moved back to his mother's home town of

7250: 7245: 7230: 7165: 7115: 7100: 7010: 6990: 6825: 6810: 6775: 6313: 6293:

which houses the premier collection of Whistler works including the Peacock Room.

6273: 5996:

Arrangement in Business: The Art Markets and the Career of James McNeill Whistler

5973: 5584: 5117: 4666: 2785: 2346: 2340: 2334: 2086: 2082: 2071: 1458: 1188: 1123: 1107: 815: 801: 623: 611: 427: 6388: 6233: 6092: 2350:, whose personality, way of life, and even home are closely based on Whistler." 2037: 1904:

In 1899, Charles Freer introduced Whistler to his friend and fellow businessman

1558:

Holker: "The labour of two days is that for which you ask two hundred guineas?"

1477: 7240: 7235: 7195: 7160: 7105: 7060: 6975: 6895: 6890: 6820: 6805: 5607: 5298: 2917: 2358: 2248:

had a profound effect on many American artists, including John Singer Sargent,

2237: 1939: 1856: 1784: 1731: 1686: 1472: 1463: 1371: 1169: 1046: 751: 741: 667: 560: 489: 441: 404: 263: 1673:. He eagerly accepted the assignment, and arrived in the city with girlfriend 1603:(and in exhibiting the series in 1883), which helped recoup Whistler's costs. 32: 7265: 7085: 7045: 7035: 7005: 7000: 6945: 6905: 6875: 6760: 6652: 6407:, National Gallery of Art, East Building Mezzanine, July 3 – October 10, 2022 5927: 5412:. Vol. 28 (11th ed.). Cambridge University Press. pp. 596–597. 5403: 5244: 3254: 3172:

American Authors, 1600-1900: A Biographical Dictionary of American Literature

3022: 2364: 2184: 2126: 2102: 2067: 1995: 1890: 1814:

was published in 1890 with mixed success, but it afforded helpful publicity.

1674: 1641: 1173: 1042: 977: 927: 768: 615: 568: 5329: 5279: 1218:

acceptance in the 1890s, Whistler was past his prime as a portrait painter.

1176:(his mistress, 1876), Cicely Alexander (daughter of a London banker, 1873), 996: 7225: 7210: 7180: 7150: 7110: 7090: 7070: 7065: 6940: 6860: 6840: 6795: 6780: 6515: 6255: 6251: 6074: 4252: 2106: 2009: 1883: 1678: 1317: 1305: 1281: 1138: 973: 870: 855: 764: 484: 419: 332:, although it remains unclear to what extent he truly sympathized with the 6142:. London: Gibson Square; Lincoln, Nebraska: University of Nebraska Press. 5959:

Falling Rocket: James Whistler, John Ruskin, and the Battle for Modern Art

1859:. Whistler had met Vivian in the late 1880s when both were members of the 606:. But the event of greatest consequence that year was his friendship with 7215: 7120: 7040: 6800: 6755: 6431: 5807:

MacDonald, Margaret F., Galassi, Susan Grace and Ribeiro, Aileen (2003).

5752: 5742: 5728: 5474: 4924:

Patricia de Montfort, "White Muslin: Joanna Hiffernan and the 1860s," in

2329: 2241: 2110: 2033: 1898: 1837: 1718: 1669:

After the trial, Whistler received a commission to do twelve etchings in

1588: 1513: 1467:

on July 2, 1877. Ruskin praised Burne-Jones, while he attacked Whistler:

1436: 1255: 1058: 953: 931: 823: 819: 426:, who came to Russia with a commission to paint a history of the life of 266:

and moral allusion in painting and was a leading proponent of the credo "

5460:

Whistler on Art: Selected Letters and Writings of James McNeill Whistler

1961: 7175: 6965: 6845: 6745: 5854:

Whistler and the World: The Lunder Collection of James McNeill Whistler

2146: 1275: 1143: 1118: 466: 457:

aided by natural abilities, made him very charming, even at that age."

289: 259: 255: 251: 6260: 6079:

James McNeil Whistler: Paintings, Etchings, Pastels & Watercolours

4157: 910:

At that point, Whistler painted another self-portrait and entitled it

278:, emphasizing the primacy of tonal harmony. His most famous painting, 7025: 3610:"Detroit Institute of Arts webpage image and description of painting" 3092: 2377: 2321: 2217: 2130: 1980: 1449:, an alternative to the Royal Academy exhibition, alongside works by 1263: 1133: 883: 878: 681:

After a year in London, he produced a set of etchings in 1860 called

603: 543: 512: 325: 4001: 2961:

Letter to Whistler from Anna Matilda Whistler, dated July 11, 1876.

2948:

Letter to Whistler from Anna Matilda Whistler, dated July 11, 1855.

1721:

was generous in his praise and hailed the lecture as a masterpiece:

1488:

Whistler, seeing the attack in the newspaper, replied to his friend

1385:

Having acquired the centerpiece of the room, Whistler's painting of

6925: 4871: 2245: 1754: 1749: 1607: 1321: 1259: 1045:

rejected it, but then grudgingly accepted it after lobbying by Sir

919: 915: 125: 6375: 6326: 6266: 5886:. Washington, D.C.: Freer Gallery of Art / Yale University Press. 1512:

and a special jury. Counsel for John Ruskin, Attorney General Sir

1049:—but they hung it in an unfavorable location at their exhibition. 324:

In later years, Whistler played up his mother's connection to the

5914:

After Whistler: The Artist and His Influence on American Painting

3444: 1791:

insisted that they should be married before the end of the week.

1245: 923: 521: 496: 446: 6555:

Arrangement in Grey and Black, No. 2: Portrait of Thomas Carlyle

6301: 6261:

The Correspondence of James McNeill Whistler, Glasgow University

4964:"The Correspondence of James McNeill Whistler :: Biography" 4785: 4783: 4547: 4545: 4543: 4541: 4306: 1882:, with his studio at the top of 86 Rue Notre Dame des Champs in 274:

entitled many of his paintings "arrangements", "harmonies", and

6405:

The Woman in White: Joanna Hiffernan and James McNeill Whistler

6227: 5839:

The Woman in White: Joanna Hiffernan and James McNeill Whistler

4272: 4270: 3720: 3718: 3693: 3691: 3633: 3631: 3592: 3590: 3527: 3525: 2261: 1670: 1640:(1888–1900), National Gallery of Art, Washington, D.C. (Model: 1527:

Whistler: "It is a night piece and represents the fireworks at

1296: 718:

James Abbott McNeill Whistler, Paris, c.1863, albumen print by

576: 564: 6732: 3410: 3408: 3223: 3151: 242: 6014:

A Fragile Modernism: Whistler and His Impressionist Followers

5001: 4850: 4838: 4826: 4780: 4768: 4756: 4714: 4641: 4629: 4617: 4593: 4581: 4557: 4538: 4484: 4452: 2413:

Whistler achieved worldwide recognition during his lifetime:

1497: 1320:

on the china he had begun to collect and decided to design a

6389:

The John G. Johnson Collection: A History and Selected Works

6267:

Catalogue raisonné of the etchings of James McNeill Whistler

6094:

The John G. Johnson Collection: A History and Selected Works

5668:

Washington, D.C.: Smithsonian Institution Scholarly Press.

5666:

Palaces of Art: Whistler and the Art Worlds of Aestheticism.

4401: 4389: 4377: 4348: 4294: 4282: 4267: 4207: 4195: 4069: 4057: 4045: 3901: 3832: 3820: 3808: 3715: 3688: 3667: 3655: 3643: 3628: 3587: 3575: 3522: 2380:. She owned and displayed an original etching of Whistler's 1311: 292:

and his friendships with other leading artists and writers.

4669:. The Tate Museum, London, 2005, accessed December 3, 2010. 4508:

The Hunterian Museum and Art Gallery, University of Glasgow

4126:. Whistler.arts.gla.ac.uk. October 14, 2003. Archived from 3405: 3378: 3366: 3354: 3342: 3330: 3318: 3306: 3294: 3211: 3178: 3139: 3107: 1950:. The artist's entire estate was left to his sister-in-law 1493: 1378:

Cordoba leather wall coverings first brought to Britain by

1271: 1240: 328:

and its roots, and he presented himself as an impoverished

6399:, Royal Academy of Arts, London, 26 February – 22 May 2022 5822:

MacDonald, Margaret F., and de Montfort, Patricia (2013).

5038: 4605: 4440: 3464:"Explanation of Whistler's purpose in making the painting 3050: 2077:

Whistler was friendly with many French artists, including

1453:

and other artists. Ruskin, who had been a champion of the

555:

Whistler arrived in Paris in 1855, rented a studio in the

5869:

A Pot of Paint: Aesthetics on Trial in Whistler v. Ruskin

5599:. With contributions by Nicolai Cikovsky Jr., Ruth Fine, 4526: 4171:

The Gentle Art of Making Enemies – James McNeill Whistler

4150:

A Pot of Paint: Aesthetics on Trial in Whistler v. Ruskin

2788:

set a record price for a Whistler print at auction, when

500: 233: 6492:

Rose and Silver: The Princess from the Land of Porcelain

6392:, a Philadelphia Museum of Art free digital publication. 5899:

The Princess and the Peacocks or, The Story of the Room

5737:

The Venetian Hours of Henry James, Whistler, and Sargent

4672: 4091:(London, England), Tuesday, November 26, 26, 1878; p. 9. 3796: 3498: 2433:

International Society of Sculptors, Painters and Gravers

2391:

The Pantheon, from the Terrace of the Luxembourg Gardens

1299:. Whistler gained an enormous reputation as an etcher. 598:. During that year, he painted his first self-portrait, 203:

International Society of Sculptors, Painters and Gravers

5757:

Whistler Lithographs: An Illustrated Catalogue Raisonné

5178: 4367: 4365: 4363: 4338: 4336: 4323: 4321: 3964:"A Closer Look – James McNeill Whistler – Peacock Room" 3925: 3395: 3393: 3201: 3199: 3197: 3195: 3193: 3040: 3038: 3036: 2973: 2971: 2376:

Whistler was the favorite artist of singer and actress

1168:

Other important portraits by Whistler include those of

262:

and based primarily in the United Kingdom. He eschewed

6157:. New York: Harry N. Abrams, Inc. in association with 5494:. Washington D.C.: The Smithsonian Institution Press. 3946: 3944: 3942: 3940: 3864: 2994: 2992: 520:. He lasted there only two months, but he learned the 6276:

by M.F. MacDonald, G. Petri, M. Hausberg, J. Meacock.

5334:

Also published New York: Todtri Productions Limited.

4733:

London Cemeteries: An Illustrated Guide and Gazetteer

4702: 4569: 2877: 2875: 2873: 710:(1862), The National Gallery of Art, Washington, D.C. 689:

as well as some early impressionistic work including

524:

technique which later proved valuable to his career.

236: 230: 6061:

Whistler's Mother: Portrait of an Extraordinary Life

5713:

Heijbroek, J. E. and MacDonald, Margaret F. (1997).

5055: 5053: 4883: 4474:, New York: Harry N. Abrams, Inc., 1994, pp. 49–55, 4360: 4333: 4318: 3982: 3913: 3703: 3563: 3510: 3486: 3432: 3420: 3390: 3190: 3033: 2998: 2968: 2179:

and his wife Frances Black. Beatrix and her sisters

732:. The portrait of his mistress and business manager 239: 93:

United States Military Academy, West Point, New York

5871:. Washington, D.C.: Smithsonian Institution Press. 5558:. New York: W. W. Norton and Freer Gallery of Art. 5347:

Design & The Decorative Arts, Britain 1500–1900

5297:Pennell, Joseph; Pennell, Elizabeth Robins (1911). 3937: 2989: 2431:1898: became a charter member and first president, 2062:circle of artists, writers and poets that included 2058:In Paris, Whistler was friends with members of the 1606:Whistler published his account of the trial in the 227: 6263:Edited by M.F. MacDonald, P.de Montfort, N. Thorp. 6087:Purple and Rose: The Lange Leizen of the Six Marks 6053:. Washington, D.C.: Smithsonian Institution Press. 5856:. Waterville, Maine: Colby College Museum of Art. 5556:James McNeill Whistler at the Freer Gallery of Art 5522:A Short Biography of James Abbott McNeill Whistler 5418: 4124:"See The Correspondence of James McNeill Whistler" 3071:"Springfield's 375th: From Puritans to presidents" 2899: 2894:Spencer, Robin (2004). "Whistler, James Abbott Mc 2870: 602:, a dark and thickly rendered work reminiscent of 5050: 4029:. Deyoung.famsf.org. May 30, 2012. Archived from 3740:, Lund Humphries, Burlington, Vt., 2003, p. 137; 1889:He felt welcomed by his old Paris friends Monet, 1484:for flinging a pot of paint in the public's face. 1148:visitor to the enormous venue of popular culture. 563:. The latter was a great advocate of the work of 7263: 2643:Nocturne in Pink and Gray, Portrait of Lady Meux 1548:Holker: "Did it take you much time to paint the 201:1898, charter member and first president of the 7387:Members of the Royal Society of British Artists 6563:Nocturne in Black and Gold – The Falling Rocket 6500:Symphony in White, No. 2: The Little White Girl 6224:111 artworks by or after James McNeill Whistler 5035:, emelbourne.net.au. Retrieved 2 February 2024. 2751:Harmony in Blue and Gold - The Little Blue Girl 1985:Symphony in White No. 2 (The Little White Girl) 317:, and the elder brother of Confederate surgeon 6540:Nocturne: Blue and Gold – Old Battersea Bridge 6302:Whistler House Museum of Art official web site 5824:An American in London: Whistler and the Thames 5664:Glazer, Lee and Merrill, Linda, eds. (2013). 5471:3rd ed., G. P. Putnam's Sons, New York, 1904 . 5296: 4844: 4692:"The Correspondence of James McNeill Whistler" 2113:. As a young artist, he was a close friend of 1710:in 1885, a major expression of his belief in " 1571:Nocturne in Black and Gold: The Falling Rocket 1522:Nocturne in Black and Gold: The Falling Rocket 1461:, reviewed Whistler's work in his publication 1442:Nocturne in Black and Gold: The Falling Rocket 851:Nocturne: Blue and Gold – Old Battersea Bridge 767:for the exhibition of works rejected from the 649:Reflecting his adopted circle's banner of the 6718: 6447: 5450:. The Baltimore Museum of Art. Archived from 5222: 5007: 4832: 4789: 4774: 4762: 4720: 4647: 4623: 4599: 4587: 4490: 4458: 4407: 4395: 4383: 4354: 4312: 4300: 4288: 4276: 4213: 4201: 4075: 4063: 4051: 3907: 3838: 3826: 3814: 3724: 3697: 3673: 3661: 3649: 3637: 3596: 3581: 3531: 3450: 3414: 3384: 3372: 3360: 3348: 3336: 3324: 3312: 3300: 3229: 3217: 3184: 3157: 3145: 3113: 3056: 2571:Nocturne in Gray and Gold, Westminster Bridge 1912:furniture, tapestries, Chinese porcelain and 1250:, c. 1889 – etching by James McNeill Whistler 653:, Whistler painted his first exhibited work, 6089:by James Abbott McNeill Whistler (cat. 1112) 5653:. Washington D.C.: Smithsonian Institution. 4966:. Whistler.arts.gla.ac.uk. February 20, 2003 4895:The Correspondence of James McNeill Whistler 4812:"University of Glasgow, Special Collections" 4227:"National Gallery of Art webpage describing 4156:, Vol. 24, No. 3 (Winter, 1994), pgs. 536–7 2979:"James Abbott McNeill Whistler – Questroyal" 2912:(online ed.). Oxford University Press. 2171:, the architect who had designed Whistler's 912:Arrangement in Gray: Portrait of the Painter 800:During this period Whistler became close to 38:Arrangement in Gray: Portrait of the Painter 6397:Whistler's Woman in White: Joanna Hiffernan 6376:The Whistler Society, London. Founded 2012. 4936: 4934: 2443:on the River Thames in the United Kingdom. 1863:, the first of the Neo-Jacobite societies. 1664:, by E. R. and J. Pennell, Volume 2 (1908) 818:, an area popular with artists, firstly in 7372:Hall of Fame for Great Americans inductees 6725: 6711: 6594:Mother of Pearl and Silver: The Andalusian 6578:Harmony in Blue and Gold: The Peacock Room 6461: 6454: 6440: 6286:James McNeill Whistler exhibition catalogs 5749:. New York: Cosmopolitan Book Corporation. 5507:James McNeill Whistler: First Impressions. 5373: 5303:(5th ed.). London: William Heinemann. 5044: 4856: 4611: 4446: 4229:Mother of pearl and silver: The Andalusian 4148:Peter Stansky's review of Linda Merrill's 2190:Mother of Pearl and Silver: The Andalusian 1637:Mother of Pearl and Silver: The Andalusian 1360:Harmony in Blue and Gold: The Peacock Room 877:, a pleasure park famous for its frequent 31: 5897:Merrill, Linda, and Ridley, Sarah (1993) 5779:Palaces in the Night: Whistler and Venice 5416: 4877: 4635: 4563: 4551: 4532: 4504:""Harmony in Red: Lamplight" (1884–1886)" 1975: 1866:In 1891, with help from his close friend 1312:Butterfly signature and painting settings 1032:Whistler's mother Anna Whistler, c. 1850s 676:Harmony in Green and Rose: The Music Room 367:in 1837, where his father worked for the 6484:Symphony in White, No. 1: The White Girl 6297:An account of the Whistler/Ruskin affair 6243:Works by or about James McNeill Whistler 5524:. Carlisle, Massachusetts: Benna Books. 4931: 4168:Whistler, James Mcneill (January 1967). 4167: 3276:"Blackwell, Jon, A Salute to West Point" 2825: 2607:The Gold Scab: Eruption in Frilthy Lucre 2417:1884: elected an honorary member of the 2284: 2200: 2008: 1990: 1979: 1960: 1816: 1742: 1630: 1564: 1439:after the critic condemned his painting 1421:The Gold Scab: Eruption in Frilthy Lucre 1340: 1280: 1239: 1194: 1156: 1071: 1027: 995: 844: 763:in Paris, an event sponsored by Emperor 729:Symphony in White, No. 1: The White Girl 713: 707:Symphony in White, No. 1: The White Girl 700: 526: 390: 352:, a museum dedicated to him. He claimed 7342:Artists from Springfield, Massachusetts 6174:The Paintings of James McNeill Whistler 5972: 5837:MacDonald, Margaret F., et al. (2020). 5679: 5629: 5606: 5392: 5259: 5226:James McNeill Whistler: Beyond the Myth 5184: 4944:. Whistler.arts.gla.ac.uk. May 21, 1920 4660:"Turner, Whistler, Monet: Thames Views" 4419: 3870: 3774: 3068: 2909:Oxford Dictionary of National Biography 2902:Oxford Dictionary of National Biography 2893: 2497:The Princess from the Land of Porcelain 1611:Whistler v. Ruskin: Art and Art Critics 1388:The Princess from the Land of Porcelain 1346:The Princess from the Land of Porcelain 152: 1888; died 1896) 7357:Vanity Fair (British magazine) artists 7264: 6307:Works by James Abbott McNeill Whistler 6119: 5884:The Peacock Room: A Cultural Biography 5764:The Etchings of James McNeill Whistler 5425:. New York, NY: Weybright and Talley. 5399:"Whistler, James Abbott McNeill" 5307: 5285: 5223:Anderson, Ronald; Koval, Anne (1995). 5084:"James McNeill Whistler: The Etchings 4891:"Biography – Maud Franklin, 1857–1941" 4708: 4678: 4575: 4420:Ellmann, Richard (September 4, 2013). 4371: 4342: 4327: 3988: 3950: 3931: 3919: 3854:, p. 132. Studio Editions Ltd., 1994; 3802: 3709: 3569: 3516: 3504: 3492: 3438: 3426: 3399: 3205: 3169: 3129:, Wings Books, New York, 1989, p. 35, 3044: 2999:New England Magazine (February 1904). 2898:(1834–1903), painter and printmaker". 2881: 2212:, 1885; The Metropolitan Museum of Art 1391:, American industrialist and aesthete 1354:Freer Gallery of Art, Washington, D.C. 889:In 1872, Whistler credited his patron 550: 6706: 6435: 6031:. London and New York: Phaidon Press. 5612:James Abbott McNeill Whistler: A Life 5587:, and MacDonald, Margaret F. (1994). 5229:. New York, NY.: Carroll & Graf. 3174:. New York: H.W. Wilson. p. 802. 2769:Blue and Coral The Little Blue Bonnet 2384:and two of his original lithographs, 1445:. Whistler exhibited the work in the 1399:. Freer then had the contents of the 1254:Whistler produced numerous etchings, 897:, for his musically inspired titles. 814:From 1866, Whistler made his home in 511:After West Point, Whistler worked as 399:In 1842, his father was recruited by 386: 309:on July 10, 1834, the first child of 187:1884, elected honorary member, Royal 6422:Whistler: Streetscapes, Urban Change 6412:Whistler: Streetscapes, Urban Change 6318:University of Michigan Museum of Art 6027:Spaulding, Frances (2nd ed. 1994 ). 5826:. London: Philip Wilson Publishers. 5811:. Frick Collection/Yale University. 5792:MacDonald, Margaret F., ed. (2003). 5292:. London: The Print Collectors Club. 5198:"Nocturne: Our Most Expensive Print" 4496: 4426:. Knopf Doubleday Publishing Group. 4154:Journal of Interdisciplinary History 3685:Anderson and Koval, p. 141, plate 7. 2697:Green and Silver- Beaulieu, Touraine 2553:Variations in Pink and Grey- Chelsea 2386:The Steps, Luxembourg Gardens, Paris 1796:the Chaplain to the House of Commons 1508:on November 25 and 26, 1878, before 983: 657:in 1858. He followed it by painting 580:smoking and drinking, laid him low. 375:, and the family built a mansion in 7322:American people of Scottish descent 6643:George Washington Whistler (father) 6532:Nocturne: Blue and Silver – Chelsea 6159:The National Museum of American Art 5794:Whistler's Mother: An American Icon 5682:The World of James McNeill Whistler 5535: 5200:. Swann Galleries. October 29, 2010 4862: 4735:, by Hugh Meller and Brian Parsons. 3738:Whistler's Mother: An American Icon 3537: 2175:, and the daughter of the sculptor 1822:Arrangement in Pink, Red and Purple 1703:Whistler published his first book, 1328: 1270:in Paris, and Georgian churches in 862:In 1866, Whistler decided to visit 826:, and finally Upper Church Street. 499:and began by saying, "Silicon is a 281:Arrangement in Grey and Black No. 1 13: 7367:American people of English descent 7347:Royal Society of Portrait Painters 7337:Artists from Lowell, Massachusetts 6648:William McNeill Whistler (brother) 6428:, November 18, 2023 – May 4, 2024. 5781:. University of California Press. 5484: 5440: 5300:The Life of James McNeill Whistler 3243:"Books: West Pointer with a Brush" 2779: 1662:The Life of James McNeill Whistler 1534:Holker: "Not a view of Cremorne?" 1425:Fine Arts Museums of San Francisco 1382:that Leyland had paid £1,000 for. 1152: 1019:Arrangement in Grey and Black No.1 1002:Arrangement in Grey and Black No.1 305:James Abbott Whistler was born in 14: 7398: 7377:20th-century American printmakers 6188: 5651:James McNeill Whistler in Context 5571:Whistler and His Circle in Venice 5345:Snodin, Michael and John Styles. 1855:magazine published by his friend 1435:In 1877 Whistler sued the critic 1411:was permanently installed in the 1288:, etching and drypoint, 1879–80, 893:, an amateur musician devoted to 7332:Officers of the Legion of Honour 6734:Hall of Fame for Great Americans 6613:The Gentle Art of Making Enemies 6351:The New Student's Reference Work 6325: 5980:. London: Macdonald and Jane's. 5961:. New York: Pegasus Books, Ltd. 5509:New York: Harry N. Abrams, Inc. 5468:The Gentle Art of Making Enemies 5465:Whistler, James Abbott McNeill, 5190: 5156: 5130: 5111: 5092: 5077: 5066: 5026: 5013: 4992: 4978: 4956: 4918: 4909: 4804: 4795: 4747: 4738: 4726: 4684: 4653: 4464: 4413: 3775:Johnson, Steve (March 3, 2017). 2826:Bridgers, Jeff (June 20, 2013). 2761: 2743: 2725: 2707: 2689: 2671: 2653: 2635: 2617: 2599: 2581: 2563: 2545: 2527: 2507: 2489: 2471: 2453: 1811:The Gentle Art of Making Enemies 1616:The Gentle Art of Making Enemies 1552:How soon did you knock it off?" 1520:Holker: "What is the subject of 829: 755:private gallery under the title 363:The family moved from Lowell to 223: 7317:American Impressionist painters 6252:Works by James McNeill Whistler 6234:Works by James McNeill Whistler 6084:Thompson, Jennifer A. (2017). " 6059:and Toutziari, Georgia (2018). 5520:Corbacho, Henri-Pierre (2018). 5376:Whistler: A Life for Art's Sake 5138:"Doris Day's Estate at Auction" 4245: 4219: 4161: 4142: 4116: 4107: 4102:Nineteenth-Century European Art 4094: 4081: 4019: 3994: 3956: 3876: 3844: 3787: 3768: 3759: 3750: 3730: 3679: 3602: 3551:. Victoria County History, 2004 3456: 3268: 3235: 3163: 3119: 3081: 3069:Phaneuf, Wayne (May 10, 2011). 3062: 2136:Whistler's lover and model for 1921:Portrait of Richard A. Canfield 1766:Queen Victoria's Golden Jubilee 1430: 1407:. After Freer's death in 1919, 759:. In 1863, it was shown at the 696: 534:(1858), a self-portrait at the 409:Saint Petersburg-Moscow Railway 149: 7302:20th-century American painters 7287:19th-century American painters 6638:Anna McNeill Whistler (mother) 6361:Whistler, James Abbott McNeill 6346:Whistler, James Abbott McNeill 5912:Merrill, Linda, et al. (2003) 5809:Whistler, Women, & Fashion 5777:MacDonald Margaret F. (2001). 5739:. Bulfinch Press/Little Brown. 5573:. London: Merrell Publishers. 5490:Bendix, Deanna Marohn (1995). 5374:Sutherland, Daniel E. (2014). 5349:. V&A Publications: 2001. 5023:, HarperCollins, 2005, p. 118. 3756:Margaret F. MacDonald, p. 125. 3015: 3011:. Boston, MA: America Company. 2955: 2942: 2887: 2844: 2819: 2240:was his pupil, and the writer 1999:Arrangement in White and Black 1626: 1235: 471:United States Military Academy 343: 1: 7312:American emigrants to England 6567: 6544: 6477:Portrait of Whistler with Hat 5796:. Aldershot: Lund Humphries. 5762:Lochnan, Katherine A.(1984). 5289:The British School of Etching 5249:; London: John Murray, 1994. 5216: 4998:Anderson and Koval, plate 45. 4915:Anderson and Koval, plate 40. 4753:Anderson and Koval, plate 46. 4744:Anderson and Koval, plate 44. 3966:. Asia.si.edu. Archived from 3765:Margaret F. MacDonald, p. 80. 2424:1892: made an officer of the 2291:James Abbott McNeill Whistler 2133:Whistler later would mentor. 1965:Etching of Whistler's model, 1021:, but usually referred to as 600:Portrait of Whistler with Hat 532:Portrait of Whistler with Hat 460: 295: 258:, active during the American 214:James Abbott McNeill Whistler 194:1892, made an officer of the 6676:Whistler House Museum of Art 6282:by M.F. MacDonald, G. Petri. 6214:Resources in other libraries 5957:Murphy, Paul Thomas (2023). 5852:McCann, Justin, ed. (2015). 5649:Glazer, Lee, et al. (2008). 5124:The New York Review of Books 4926:Whistler, Women, and Fashion 4845:Pennell & Pennell (1911) 3736:Margaret F. MacDonald, ed., 2936:UK public library membership 2535:Three Figures, Pink and Grey 2403:St Nicholas Church, Chiswick 2399:Whistler House Museum of Art 1933:St Nicholas Church, Chiswick 1689:(and Duveneck's "boys") and 1221: 963: 834: 822:, then an ill-fated move to 685:as counterpoint to his 1858 506: 373:Boston & Albany Railroad 350:Whistler House Museum of Art 189:Academy of Fine Arts, Munich 16:American painter (1834–1903) 7: 6416:Colby College Museum of Art 6161:, Smithsonian Institution. 5936:: The Butterfly and the Bat 5634:. London: Allen and Unwin. 5632:The Young Whistler, 1834–66 5630:Fleming, Gordon H. (1978). 5540:. London: Frances Lincoln. 5479:"Mr Whistler’s Ten O’Clock" 5417:Weintraub, Stanley (1974). 5363:. London: Studio Editions. 5314:. New York, NY: Smithmark. 5008:Anderson & Koval (1995) 4833:Anderson & Koval (1995) 4790:Anderson & Koval (1995) 4775:Anderson & Koval (1995) 4763:Anderson & Koval (1995) 4721:Anderson & Koval (1995) 4696:www.whistler.arts.gla.ac.uk 4648:Anderson & Koval (1995) 4624:Anderson & Koval (1995) 4600:Anderson & Koval (1995) 4588:Anderson & Koval (1995) 4491:Anderson & Koval (1995) 4459:Anderson & Koval (1995) 4408:Anderson & Koval (1995) 4396:Anderson & Koval (1995) 4384:Anderson & Koval (1995) 4355:Anderson & Koval (1995) 4313:Anderson & Koval (1995) 4301:Anderson & Koval (1995) 4289:Anderson & Koval (1995) 4277:Anderson & Koval (1995) 4214:Anderson & Koval (1995) 4202:Anderson & Koval (1995) 4076:Anderson & Koval (1995) 4064:Anderson & Koval (1995) 4052:Anderson & Koval (1995) 3908:Anderson & Koval (1995) 3839:Anderson & Koval (1995) 3827:Anderson & Koval (1995) 3815:Anderson & Koval (1995) 3725:Anderson & Koval (1995) 3698:Anderson & Koval (1995) 3674:Anderson & Koval (1995) 3662:Anderson & Koval (1995) 3650:Anderson & Koval (1995) 3638:Anderson & Koval (1995) 3597:Anderson & Koval (1995) 3582:Anderson & Koval (1995) 3532:Anderson & Koval (1995) 3451:Anderson & Koval (1995) 3415:Anderson & Koval (1995) 3385:Anderson & Koval (1995) 3373:Anderson & Koval (1995) 3361:Anderson & Koval (1995) 3349:Anderson & Koval (1995) 3337:Anderson & Koval (1995) 3325:Anderson & Koval (1995) 3313:Anderson & Koval (1995) 3301:Anderson & Koval (1995) 3230:Anderson & Koval (1995) 3218:Anderson & Koval (1995) 3185:Anderson & Koval (1995) 3158:Anderson & Koval (1995) 3146:Anderson & Koval (1995) 3114:Anderson & Koval (1995) 3057:Anderson & Koval (1995) 2795: 2733:The Bathing Posts, Brittany 2036:. Both were figures in the 1550:Nocturne in Black and Gold? 1516:, cross-examined Whistler: 1005:(1871), popularly known as 300: 10: 7403: 7362:American portrait painters 7016:Henry Wadsworth Longfellow 6418:, June 3–October 22, 2023. 5938:. New York and Paris: The 5554:Curry, David Park (1984). 4988:. Whistler.arts.gla.ac.uk. 4100:Petra ten-Doesschate Chu, 3278:. Usma.edu. Archived from 2965:. Retrieved July 31, 2018. 2952:. Retrieved July 31, 2018. 2666:watercolour on brown paper 2446: 2419:Royal Academy of Fine Arts 2119:Pre-Raphaelite Brotherhood 2089:. He illustrated the book 1762:Society of British Artists 1737:The Picture of Dorian Gray 1597:Fine Art Society of London 1334: 1290:Metropolitan Museum of Art 1266:; while others depict the 989: 838: 518:United States Coast Survey 377:Springfield, Massachusetts 315:George Washington Whistler 284:(1871), commonly known as 167:George Washington Whistler 41:(self portrait, c. 1872), 7292:19th-century male artists 6956:Oliver Wendell Holmes Jr. 6951:Oliver Wendell Holmes Sr. 6741: 6684: 6668: 6623: 6604: 6469: 6209:Resources in your library 6176:. Yale University Press. 6063:. Yale University Press. 6049:Stubbs, Burns A. (1950). 6036:Whistler: A Retrospective 6016:. Yale University Press. 5916:. Yale University Press. 5766:. Yale University Press. 5717:. Rijksmuseum Amsterdam. 5702:. Yale University Press. 5698:Grieve, Alastair (1984). 5378:. Yale University Press. 5264:, Edinburgh: Mainstream, 4880:, pp. 166 & 322. 4814:. Whistler.arts.gla.ac.uk 3612:. Dia.org. Archived from 3470:. Dia.org. Archived from 3127:Whistler: A Retrospective 2983:www.questroyalfineart.com 2854:. Dia.org. Archived from 2408: 2196: 2014:Harmony in Red: Lamplight 1895:Henri de Toulouse-Lautrec 1781:Harmony in Red: Lamplight 1591:, Chelsea, designed with 1577:Detroit Institute of Arts 644: 180: 159: 131: 120: 106: 98: 88: 80: 64: 49: 43:Detroit Institute of Arts 30: 23: 7141:William Tecumseh Sherman 6831:George Washington Carver 6633:Beatrice Whistler (wife) 6508:Symphony in White, No. 3 6291:The Freer Gallery of Art 6124:. London: Studio Vista. 6081:. London: Phaidon Press. 6038:. New York: Wing Books. 5994:Petri, Grischka (2011). 5759:. London: Jupiter Books. 5680:Gregory, Horace (1961). 5591:. London: Tate Gallery. 5448:"George A. Lucas Papers" 5308:Peters, Lisa N. (1996). 5122:"Venice Out of Season," 3170:Kunitz, Stanley (1938). 2812: 1944:Elizabeth Robins Pennell 1613:, included in his later 738:Jules-Antoine Castagnary 416:Imperial Academy of Arts 395:Whistler circa 1847–1849 319:William McNeill Whistler 7221:John Greenleaf Whittier 6836:William Ellery Channing 6366:Encyclopædia Britannica 6312:April 22, 2021, at the 6120:Taylor, Hilary (1978). 6034:Spencer, Robin (1991). 5998:. Hildesheim: G. Olms. 5882:Merrill, Linda (1998). 5867:Merrill, Linda (1992). 5614:. Adlestrop: Windrush. 5409:Encyclopædia Britannica 5359:Spencer, Robin (1994). 5286:Hardie, Martin (1921). 5260:Cookson, Brian (2006), 5088:, University of Glasgow 5059:Dorment and MacDonald, 4897:. University of Glasgow 4174:. Courier Corporation. 2305:Famous Americans Series 2260:(whom he befriended in 1906:Richard Albert Canfield 1861:Order of the White Rose 1204:National Gallery of Art 1180:(socialite, 1882), and 791:Lady of the Land Lijsen 777:Le déjeuner sur l'herbe 633:Also in this group was 365:Stonington, Connecticut 7297:American male painters 7272:James McNeill Whistler 7206:James McNeill Whistler 7136:Augustus Saint-Gaudens 7051:Matthew Fontaine Maury 6463:James McNeill Whistler 6380:Jennifer A. Thompson, 6369:(11th ed.). 1911. 6335:James McNeill Whistler 6272:April 9, 2021, at the 6200:James McNeill Whistler 6155:James McNeill Whistler 6138:Walden, Sarah (2003). 6122:James McNeill Whistler 6010:Robins, Anna Gruetzner 5684:. London: Hutchinson. 5589:James McNeill Whistler 5311:James McNeill Whistler 5021:Walter Sickert: A Life 4665:March 5, 2005, at the 4472:James McNeill Whistler 3549:British History Online 2918:10.1093/ref:odnb/36855 2828:"Whistler's Butterfly" 2373:— the painter Elstir. 2370:In Search of Lost Time 2299: 2279: 2213: 2181:Rosalind Birnie Philip 2115:Dante Gabriel Rossetti 2056: 2021: 2006: 1988: 1976:Personal relationships 1972: 1952:Rosalind Birnie Philip 1829: 1757: 1728: 1666: 1645: 1601:"The Stones of Venice" 1579: 1563: 1537:Whistler: "If it were 1486: 1356: 1292: 1268:Faubourg Saint-Germain 1251: 1233: 1206: 1165: 1162:Whistler in his Studio 1150: 1084: 1033: 1014: 908: 859: 723: 711: 618:(later the teacher of 539: 396: 381:Wood Museum of History 354:St. Petersburg, Russia 25:James McNeill Whistler 7156:Harriet Beecher Stowe 7126:Franklin D. Roosevelt 6856:James Fenimore Cooper 6816:William Cullen Bryant 6791:Alexander Graham Bell 6586:Portrait of Lady Meux 6339:Florence Earle Coates 6330:Texts on Wikisource: 6153:Walker, John (1987). 6057:Sutherland, Daniel E. 5569:Denker, Eric (2003). 5505:Berman, Avis (1993). 5477:(February 21, 1885). 5421:Whistler: A Biography 3089:"Springfield Museums" 3027:www.whistlerhouse.org 2784:On October 27, 2010, 2630:etching on laid paper 2288: 2274: 2250:William Merritt Chase 2210:William Merritt Chase 2204: 2095:Antonio de La Gandara 2051: 2012: 1994: 1983: 1964: 1826:Cincinnati Art Museum 1820: 1777:Edward William Godwin 1746: 1723: 1648: 1634: 1568: 1518: 1469: 1344: 1284: 1243: 1228: 1215:William Merritt Chase 1198: 1160: 1112: 1075: 1031: 999: 899: 848: 839:Further information: 786:The Little White Girl 717: 704: 530: 394: 311:Anna McNeill Whistler 307:Lowell, Massachusetts 172:Anna McNeill Whistler 57:Lowell, Massachusetts 7382:Neo-Jacobite Revival 7186:Booker T. Washington 7096:Alice Freeman Palmer 7076:William T. G. Morton 7021:James Russell Lowell 6426:Freer Gallery of Art 5715:Whistler and Holland 5103:"Supreme Outsider," 5086:A Catalogue Raisonné 3970:on December 16, 2013 3616:on February 19, 2008 3474:on September 5, 2013 3125:Robin Spencer, ed., 3005:New England Magazine 2802:John Wharlton Bunney 2312:Gilbert and Sullivan 2266:Arthur Frank Mathews 2244:was his friend. His 2003:Freer Gallery of Art 1760:Whistler joined the 1753:, 1887, etching and 1413:Freer Gallery of Art 1364:Anglo-Japanese style 1093:Chicago World's Fair 1063:Bullwinkle the Moose 651:Realism art movement 536:Freer Gallery of Art 451:Pomfret, Connecticut 401:Nicholas I of Russia 7201:George Westinghouse 7171:Henry David Thoreau 7081:John Lothrop Motley 7056:Albert A. Michelson 6936:Nathaniel Hawthorne 6886:Ralph Waldo Emerson 6871:James Buchanan Eads 5536:Cox, Devon (2015). 5126:, October 24, 1991. 5105:The New York Review 4638:, pp. 374–384. 4566:, pp. 308–373. 4554:, pp. 327–328. 4315:, pp. 233–234. 4261:Library of Congress 4259:. 1908 – via 4255:Library of Congress 3453:, p. 106, 119. 3282:on January 14, 2009 3001:"Whistler's Father" 2715:The Canal Amsterdam 2702:watercolor on linen 2258:Willis Seaver Adams 2254:Henry Salem Hubbell 2232:glorious harmony". 2079:Henri Fantin-Latour 1948:Library of Congress 1405:his Detroit mansion 1380:Catherine of Aragon 1211:John Singer Sargent 1172:(historian, 1873), 1164:1865, self-portrait 940:Franco-Prussian War 841:Nocturne (painting) 809:Henri Fantin-Latour 620:John Singer Sargent 608:Henri Fantin-Latour 551:Art study in France 369:Stonington Railroad 330:Southern aristocrat 75:London, England, UK 7131:Theodore Roosevelt 7071:Samuel F. B. Morse 6931:Alexander Hamilton 6876:Thomas Alva Edison 6786:Henry Ward Beecher 6771:John James Audubon 5608:Fleming, Gordon H. 5601:Geneviève Lacambre 5458:Thorp, Nigel, ed. 5454:on April 19, 2015. 5394:Wedmore, Frederick 5262:Crossing the River 5164:"Léonore database" 4859:, pp. 99–100. 4113:Peters, pp. 51–52. 3793:MacDonald, p. 121. 3781:chicagotribune.com 3249:. March 23, 1953. 2661:Amsterdam Nocturne 2401:. He is buried at 2300: 2226:Aesthetic Movement 2214: 2177:John Birnie Philip 2153:L'Origine du monde 2117:, a member of the 2091:Les Chauves-Souris 2022: 2007: 2005:, Washington, D.C. 1989: 1973: 1956:Glasgow University 1927:in New York City. 1834:Charles Lang Freer 1830: 1828:, Cincinnati, Ohio 1758: 1712:art for art's sake 1646: 1580: 1539:A View of Cremorne 1502:Exchequer Division 1451:Edward Burne-Jones 1393:Charles Lang Freer 1357: 1293: 1252: 1207: 1166: 1085: 1034: 1015: 860: 757:The Woman in White 747:The Woman in White 724: 712: 635:Charles Baudelaire 540: 538:, Washington, D.C. 442:Sir William Boxall 397: 387:Russia and England 338:American Civil War 290:aesthetic theories 268:art for art's sake 191:, Bavaria, Germany 7259: 7258: 7191:George Washington 7146:John Philip Sousa 6981:Thomas J. Jackson 6971:Washington Irving 6916:William C. Gorgas 6901:Benjamin Franklin 6866:Charlotte Cushman 6751:John Quincy Adams 6700: 6699: 6692:Nocturne painting 6661:(model and lover) 6655:(model and lover) 6597:(1888–1900) 6524:Whistler's Mother 6238:Project Gutenberg 6195:Library resources 6114:978-1-5272-1775-1 6103:978-0-87633-276-4 6022:978-0-300-13545-9 6004:978-3-487-14630-0 5967:978-1-63936-491-6 5847:978-0-300-25450-1 5832:978-1-78130-022-0 5700:Whistler's Venice 5674:978-1-935623-29-8 5659:978-0-934686-09-9 5530:978-1-944038-43-4 5385:978-0-300-13545-9 5321:978-0-7651-9961-4 5271:978-1-84018-976-6 5255:978-0-7195-5027-0 5236:978-0-7867-0187-2 5166:. Culture.gouv.fr 5045:Sutherland (2014) 5033:Heidelberg School 4857:Sutherland (2014) 4612:Sutherland (2014) 4447:Sutherland (2014) 4033:on April 29, 2014 3934:, pp. 19–20. 3888:www.metmuseum.org 3805:, p. 36, 43. 3507:, p. 18, 24. 3466:Symphony in White 3232:, pp. 26–27. 2934:(Subscription or 2516:Valparaiso Harbor 2479:The Thames in Ice 2354:George du Maurier 2320:pokes fun at the 2270:Heidelberg School 2064:Stéphane Mallarmé 1880:Rue du Bac, Paris 1872:Whistler's Mother 1868:Stéphane Mallarmé 1802:Pall Mall Gazette 1447:Grosvenor Gallery 1248:, the Netherlands 1129:Leonardo da Vinci 1115:Whistler's Mother 1078:Whistler's Mother 1054:Whistler's Mother 1023:Whistler's Mother 1007:Whistler's Mother 992:Whistler's Mother 985:Whistler's Mother 891:Frederick Leyland 864:Valparaíso, Chile 795:The Golden Screen 761:Salon des Refusés 691:The Thames in Ice 639:Théophile Gautier 614:, which included 424:Sir William Allan 286:Whistler's Mother 211: 210: 114:Whistler's Mother 7394: 7307:American etchers 7031:Edward MacDowell 6986:Thomas Jefferson 6921:Ulysses S. Grant 6881:Jonathan Edwards 6851:Grover Cleveland 6766:Susan B. Anthony 6727: 6720: 6713: 6704: 6703: 6659:Joanna Hiffernan 6572: 6569: 6549: 6546: 6456: 6449: 6442: 6433: 6432: 6370: 6355: 6329: 6247:Internet Archive 6135: 5991: 5978:The Man Whistler 5974:Pearson, Hesketh 5940:Frick Collection 5695: 5645: 5625: 5585:Dorment, Richard 5551: 5455: 5436: 5424: 5413: 5401: 5389: 5333: 5304: 5293: 5282: 5248: 5210: 5209: 5207: 5205: 5194: 5188: 5182: 5176: 5175: 5173: 5171: 5160: 5154: 5153: 5151: 5149: 5134: 5128: 5118:Dorment, Richard 5115: 5109: 5096: 5090: 5081: 5075: 5070: 5064: 5057: 5048: 5042: 5036: 5030: 5024: 5017: 5011: 5005: 4999: 4996: 4990: 4989: 4982: 4976: 4975: 4973: 4971: 4960: 4954: 4953: 4951: 4949: 4938: 4929: 4922: 4916: 4913: 4907: 4906: 4904: 4902: 4887: 4881: 4878:Weintraub (1974) 4875: 4869: 4866: 4860: 4854: 4848: 4842: 4836: 4830: 4824: 4823: 4821: 4819: 4808: 4802: 4799: 4793: 4787: 4778: 4772: 4766: 4760: 4754: 4751: 4745: 4742: 4736: 4730: 4724: 4718: 4712: 4706: 4700: 4699: 4688: 4682: 4681:, p. 62-63. 4676: 4670: 4657: 4651: 4645: 4639: 4636:Weintraub (1974) 4633: 4627: 4621: 4615: 4609: 4603: 4597: 4591: 4585: 4579: 4573: 4567: 4564:Weintraub (1974) 4561: 4555: 4552:Weintraub (1974) 4549: 4536: 4533:Weintraub (1974) 4530: 4524: 4523: 4521: 4519: 4510:. Archived from 4500: 4494: 4488: 4482: 4468: 4462: 4456: 4450: 4444: 4438: 4437: 4417: 4411: 4405: 4399: 4393: 4387: 4381: 4375: 4369: 4358: 4352: 4346: 4340: 4331: 4325: 4316: 4310: 4304: 4298: 4292: 4286: 4280: 4274: 4265: 4264: 4249: 4243: 4242: 4240: 4238: 4223: 4217: 4211: 4205: 4199: 4193: 4192: 4190: 4188: 4165: 4159: 4146: 4140: 4139: 4137: 4135: 4130:on March 6, 2008 4120: 4114: 4111: 4105: 4098: 4092: 4085: 4079: 4073: 4067: 4061: 4055: 4049: 4043: 4042: 4040: 4038: 4023: 4017: 4016: 4014: 4012: 4004:The Peacock Room 4002:"Freer Gallery, 3998: 3992: 3986: 3980: 3979: 3977: 3975: 3960: 3954: 3948: 3935: 3929: 3923: 3917: 3911: 3905: 3899: 3898: 3896: 3894: 3880: 3874: 3868: 3862: 3850:Spencer, Robin, 3848: 3842: 3836: 3830: 3824: 3818: 3812: 3806: 3800: 3794: 3791: 3785: 3784: 3772: 3766: 3763: 3757: 3754: 3748: 3734: 3728: 3722: 3713: 3707: 3701: 3695: 3686: 3683: 3677: 3671: 3665: 3659: 3653: 3647: 3641: 3635: 3626: 3625: 3623: 3621: 3606: 3600: 3594: 3585: 3579: 3573: 3567: 3561: 3560: 3558: 3556: 3541: 3535: 3529: 3520: 3514: 3508: 3502: 3496: 3490: 3484: 3483: 3481: 3479: 3460: 3454: 3448: 3442: 3436: 3430: 3424: 3418: 3412: 3403: 3397: 3388: 3382: 3376: 3370: 3364: 3358: 3352: 3346: 3340: 3334: 3328: 3322: 3316: 3310: 3304: 3298: 3292: 3291: 3289: 3287: 3272: 3266: 3265: 3263: 3261: 3239: 3233: 3227: 3221: 3215: 3209: 3203: 3188: 3182: 3176: 3175: 3167: 3161: 3160:, p. 18-20. 3155: 3149: 3143: 3137: 3123: 3117: 3111: 3105: 3104: 3102: 3100: 3091:. 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Gibbs 6826:Andrew Carnegie 6811:Phillips Brooks 6776:George Bancroft 6737: 6731: 6701: 6696: 6680: 6664: 6625: 6619: 6600: 6581:(1876–77) 6570: 6547: 6511:(1865–67) 6503:(1864–65) 6495:(1863–65) 6465: 6460: 6358: 6343: 6314:Wayback Machine 6274:Wayback Machine 6220: 6219: 6218: 6203: 6202: 6198: 6191: 6132: 5988: 5692: 5642: 5622: 5548: 5487: 5485:Further reading 5446: 5443: 5441:Primary sources 5433: 5386: 5322: 5272: 5237: 5219: 5214: 5213: 5203: 5201: 5196: 5195: 5191: 5183: 5179: 5169: 5167: 5162: 5161: 5157: 5147: 5145: 5144:. April 1, 2020 5136: 5135: 5131: 5116: 5112: 5097: 5093: 5082: 5078: 5071: 5067: 5058: 5051: 5043: 5039: 5031: 5027: 5018: 5014: 5006: 5002: 4997: 4993: 4984: 4983: 4979: 4969: 4967: 4962: 4961: 4957: 4947: 4945: 4940: 4939: 4932: 4923: 4919: 4914: 4910: 4900: 4898: 4889: 4888: 4884: 4876: 4872: 4868:Spencer, p. 88. 4867: 4863: 4855: 4851: 4843: 4839: 4831: 4827: 4817: 4815: 4810: 4809: 4805: 4800: 4796: 4788: 4781: 4773: 4769: 4761: 4757: 4752: 4748: 4743: 4739: 4731: 4727: 4719: 4715: 4707: 4703: 4690: 4689: 4685: 4677: 4673: 4667:Wayback Machine 4658: 4654: 4646: 4642: 4634: 4630: 4622: 4618: 4610: 4606: 4598: 4594: 4586: 4582: 4574: 4570: 4562: 4558: 4550: 4539: 4531: 4527: 4517: 4515: 4514:on July 4, 2015 4502: 4501: 4497: 4489: 4485: 4469: 4465: 4457: 4453: 4445: 4441: 4434: 4418: 4414: 4406: 4402: 4394: 4390: 4382: 4378: 4370: 4361: 4353: 4349: 4341: 4334: 4326: 4319: 4311: 4307: 4299: 4295: 4287: 4283: 4275: 4268: 4251: 4250: 4246: 4236: 4234: 4225: 4224: 4220: 4212: 4208: 4200: 4196: 4186: 4184: 4182: 4166: 4162: 4147: 4143: 4133: 4131: 4122: 4121: 4117: 4112: 4108: 4099: 4095: 4087:Whistler, 2–5; 4086: 4082: 4074: 4070: 4062: 4058: 4050: 4046: 4036: 4034: 4025: 4024: 4020: 4010: 4008: 4000: 3999: 3995: 3987: 3983: 3973: 3971: 3962: 3961: 3957: 3949: 3938: 3930: 3926: 3918: 3914: 3906: 3902: 3892: 3890: 3882: 3881: 3877: 3869: 3865: 3849: 3845: 3837: 3833: 3825: 3821: 3813: 3809: 3801: 3797: 3792: 3788: 3773: 3769: 3764: 3760: 3755: 3751: 3735: 3731: 3723: 3716: 3708: 3704: 3696: 3689: 3684: 3680: 3672: 3668: 3660: 3656: 3648: 3644: 3636: 3629: 3619: 3617: 3608: 3607: 3603: 3595: 3588: 3580: 3576: 3568: 3564: 3554: 3552: 3543: 3542: 3538: 3530: 3523: 3515: 3511: 3503: 3499: 3491: 3487: 3477: 3475: 3462: 3461: 3457: 3449: 3445: 3437: 3433: 3425: 3421: 3413: 3406: 3398: 3391: 3383: 3379: 3371: 3367: 3359: 3355: 3347: 3343: 3335: 3331: 3323: 3319: 3311: 3307: 3299: 3295: 3285: 3283: 3274: 3273: 3269: 3259: 3257: 3241: 3240: 3236: 3228: 3224: 3216: 3212: 3204: 3191: 3183: 3179: 3168: 3164: 3156: 3152: 3144: 3140: 3124: 3120: 3112: 3108: 3098: 3096: 3087: 3086: 3082: 3067: 3063: 3055: 3051: 3043: 3034: 3021: 3020: 3016: 2997: 2990: 2977: 2976: 2969: 2960: 2956: 2947: 2943: 2933: 2928: 2892: 2888: 2880: 2871: 2861: 2859: 2850: 2849: 2845: 2835: 2833: 2830: 2824: 2820: 2815: 2798: 2786:Swann Galleries 2782: 2780:Auction records 2775: 2773: 2771: 2766: 2757: 2755: 2753: 2748: 2739: 2737: 2735: 2730: 2721: 2719: 2717: 2712: 2703: 2701: 2699: 2694: 2685: 2683: 2681: 2676: 2667: 2665: 2663: 2658: 2649: 2647: 2645: 2640: 2631: 2629: 2627: 2622: 2613: 2611: 2609: 2604: 2595: 2593: 2591: 2586: 2577: 2575: 2573: 2568: 2559: 2557: 2555: 2550: 2541: 2539: 2537: 2532: 2523: 2521: 2519: 2512: 2503: 2501: 2499: 2494: 2485: 2483: 2481: 2476: 2467: 2465: 2463: 2458: 2449: 2411: 2347:The Ambassadors 2341:The Tragic Muse 2335:Roderick Hudson 2298: 2293: 2199: 2097:. He also knew 2087:Gustave Courbet 2083:Alphonse Legros 2072:Charles Whibley 2018:Beatrice Godwin 1978: 1844:lithographs to 1773:Beatrice Godwin 1667: 1629: 1575: 1490:George Boughton 1459:J. M. W. Turner 1455:Pre-Raphaelites 1433: 1339: 1333: 1314: 1238: 1224: 1155: 1153:Other portraits 1124:American Gothic 1108:Martha Tedeschi 1083: 1080: 994: 988: 966: 843: 837: 832: 816:Chelsea, London 802:Gustave Courbet 699: 647: 624:Alphonse Legros 612:Gustave Courbet 591: 589:Auguste Delâtre 585:Ernest Delannoy 553: 509: 476:nearsightedness 463: 428:Peter the Great 389: 346: 303: 298: 226: 222: 216: 207: 176: 155: 147: 143: 140: 138:Beatrice Godwin 107: 76: 73: 69: 60: 54: 45: 40: 26: 17: 12: 11: 5: 7400: 7390: 7389: 7384: 7379: 7374: 7369: 7364: 7359: 7354: 7349: 7344: 7339: 7334: 7329: 7327:Artist authors 7324: 7319: 7314: 7309: 7304: 7299: 7294: 7289: 7284: 7279: 7274: 7257: 7256: 7254: 7253: 7248: 7246:Orville Wright 7243: 7241:Woodrow Wilson 7238: 7236:Roger Williams 7233: 7228: 7223: 7218: 7213: 7208: 7203: 7198: 7196:Daniel Webster 7193: 7188: 7183: 7178: 7173: 7168: 7163: 7161:Gilbert Stuart 7158: 7153: 7148: 7143: 7138: 7133: 7128: 7123: 7118: 7113: 7108: 7106:George Peabody 7103: 7098: 7093: 7088: 7083: 7078: 7073: 7068: 7063: 7061:Maria Mitchell 7058: 7053: 7048: 7043: 7038: 7033: 7028: 7023: 7018: 7013: 7008: 7003: 6998: 6993: 6988: 6983: 6978: 6976:Andrew Jackson 6973: 6968: 6963: 6958: 6953: 6948: 6943: 6938: 6933: 6928: 6923: 6918: 6913: 6908: 6903: 6898: 6896:Stephen Foster 6893: 6891:David Farragut 6888: 6883: 6878: 6873: 6868: 6863: 6858: 6853: 6848: 6843: 6838: 6833: 6828: 6823: 6821:Luther Burbank 6818: 6813: 6808: 6806:Louis Brandeis 6803: 6798: 6793: 6788: 6783: 6778: 6773: 6768: 6763: 6758: 6753: 6748: 6742: 6739: 6738: 6730: 6729: 6722: 6715: 6707: 6698: 6697: 6695: 6694: 6688: 6686: 6682: 6681: 6679: 6678: 6672: 6670: 6666: 6665: 6663: 6662: 6656: 6650: 6645: 6640: 6635: 6629: 6627: 6621: 6620: 6618: 6617: 6608: 6606: 6602: 6601: 6599: 6598: 6590: 6582: 6574: 6559: 6551: 6536: 6528: 6520: 6512: 6504: 6496: 6488: 6480: 6473: 6471: 6467: 6466: 6459: 6458: 6451: 6444: 6436: 6430: 6429: 6419: 6409: 6401: 6393: 6378: 6373: 6372: 6371: 6356: 6341: 6320: 6304: 6299: 6294: 6288: 6283: 6277: 6264: 6258: 6249: 6240: 6231: 6217: 6216: 6211: 6205: 6204: 6193: 6192: 6190: 6189:External links 6187: 6186: 6185: 6170: 6167:978-0810917866 6151: 6136: 6130: 6117: 6106: 6082: 6072: 6069:978-0300229684 6054: 6047: 6032: 6025: 6007: 5992: 5986: 5970: 5955: 5928:Munhall, Edgar 5925: 5910: 5895: 5880: 5865: 5862:978-0972848411 5850: 5835: 5820: 5805: 5790: 5775: 5760: 5755:, ed. (1975). 5750: 5740: 5726: 5711: 5696: 5690: 5677: 5662: 5647: 5640: 5627: 5620: 5604: 5582: 5567: 5552: 5546: 5533: 5518: 5503: 5486: 5483: 5482: 5481: 5472: 5463: 5456: 5442: 5439: 5438: 5437: 5431: 5414: 5404:Chisholm, Hugh 5390: 5384: 5371: 5357: 5343: 5320: 5305: 5294: 5283: 5270: 5257: 5235: 5218: 5215: 5212: 5211: 5189: 5187:, p. 122. 5177: 5155: 5129: 5110: 5107:, May 25, 1995 5091: 5076: 5065: 5049: 5047:, p. 268. 5037: 5025: 5012: 5010:, p. 106. 5000: 4991: 4977: 4955: 4930: 4917: 4908: 4882: 4870: 4861: 4849: 4837: 4835:, p. 289. 4825: 4803: 4794: 4792:, p. 203. 4779: 4777:, p. 204. 4767: 4765:, p. 240. 4755: 4746: 4737: 4725: 4723:, p. 457. 4713: 4701: 4683: 4671: 4652: 4650:, p. 357. 4640: 4628: 4626:, p. 342. 4616: 4614:, p. 247. 4604: 4602:, p. 324. 4592: 4590:, p. 321. 4580: 4568: 4556: 4537: 4535:, p. 323. 4525: 4495: 4493:, p. 273. 4483: 4463: 4461:, p. 314. 4451: 4449:, p. 241. 4439: 4432: 4412: 4410:, p. 271. 4400: 4398:, p. 270. 4388: 4386:, p. 256. 4376: 4359: 4357:, p. 242. 4347: 4332: 4317: 4305: 4303:, p. 232. 4293: 4291:, p. 230. 4281: 4279:, p. 228. 4266: 4244: 4218: 4216:, p. 210. 4206: 4204:, p. 227. 4194: 4180: 4160: 4141: 4115: 4106: 4093: 4080: 4078:, p. 217. 4068: 4066:, p. 216. 4056: 4054:, p. 215. 4044: 4018: 3993: 3981: 3955: 3936: 3924: 3912: 3910:, p. 311. 3900: 3875: 3873:, p. 596. 3863: 3843: 3841:, p. 199. 3831: 3829:, p. 275. 3819: 3817:, p. 197. 3807: 3795: 3786: 3767: 3758: 3749: 3729: 3727:, p. 183. 3714: 3702: 3700:, p. 180. 3687: 3678: 3676:, p. 179. 3666: 3664:, p. 194. 3654: 3652:, p. 192. 3642: 3640:, p. 191. 3627: 3601: 3599:, p. 186. 3586: 3584:, p. 187. 3574: 3562: 3536: 3534:, p. 141. 3521: 3509: 3497: 3485: 3455: 3443: 3431: 3419: 3404: 3389: 3377: 3365: 3353: 3341: 3329: 3317: 3305: 3293: 3267: 3234: 3222: 3210: 3189: 3177: 3162: 3150: 3138: 3118: 3106: 3095:on May 3, 2015 3080: 3061: 3049: 3032: 3014: 2988: 2967: 2954: 2941: 2926: 2886: 2869: 2843: 2817: 2816: 2814: 2811: 2810: 2809: 2804: 2797: 2794: 2781: 2778: 2777: 2776: 2767: 2760: 2758: 2749: 2742: 2740: 2731: 2724: 2722: 2713: 2706: 2704: 2695: 2688: 2686: 2679:An Orange Note 2677: 2670: 2668: 2659: 2652: 2650: 2641: 2634: 2632: 2623: 2616: 2614: 2605: 2598: 2596: 2587: 2580: 2578: 2569: 2562: 2560: 2551: 2544: 2542: 2533: 2526: 2524: 2513: 2506: 2504: 2495: 2488: 2486: 2477: 2470: 2468: 2459: 2452: 2448: 2445: 2437: 2436: 2429: 2422: 2410: 2407: 2356:'s 1894 novel 2289: 2238:Walter Sickert 2198: 2195: 2138:The White Girl 2103:Impressionists 1987:, full version 1977: 1974: 1940:Joseph Pennell 1857:Herbert Vivian 1842:Songs of Stone 1785:Louise Jopling 1732:Herbert Vivian 1687:Frank Duveneck 1647: 1628: 1625: 1473:Coutts Lindsay 1464:Fors Clavigera 1432: 1429: 1372:Thomas Jeckyll 1335:Main article: 1332: 1327: 1318:potter's marks 1313: 1310: 1237: 1234: 1223: 1220: 1182:Théodore Duret 1170:Thomas Carlyle 1154: 1151: 1081: 1076: 1047:William Boxall 990:Main article: 987: 982: 965: 962: 836: 833: 831: 828: 752:Pre-Raphaelite 742:Wilkie Collins 720:Etienne Carjat 698: 695: 655:La Mère Gérard 646: 643: 569:Impressionists 561:Charles Gleyre 552: 549: 508: 505: 490:Robert W. Weir 462: 459: 405:Canton Viaduct 388: 385: 345: 342: 334:Southern cause 326:American South 302: 299: 297: 294: 264:sentimentality 209: 208: 206: 205: 199: 192: 184: 182: 178: 177: 175: 174: 169: 163: 161: 157: 156: 145: 141: 136: 135: 133: 129: 128: 122: 118: 117: 110: 104: 103: 100: 99:Known for 96: 95: 90: 86: 85: 82: 78: 77: 74: 72:(aged 69) 66: 62: 61: 55: 51: 47: 46: 36: 28: 27: 24: 15: 9: 6: 4: 3: 2: 7399: 7388: 7385: 7383: 7380: 7378: 7375: 7373: 7370: 7368: 7365: 7363: 7360: 7358: 7355: 7353: 7350: 7348: 7345: 7343: 7340: 7338: 7335: 7333: 7330: 7328: 7325: 7323: 7320: 7318: 7315: 7313: 7310: 7308: 7305: 7303: 7300: 7298: 7295: 7293: 7290: 7288: 7285: 7283: 7280: 7278: 7275: 7273: 7270: 7269: 7267: 7252: 7251:Wilbur Wright 7249: 7247: 7244: 7242: 7239: 7237: 7234: 7232: 7229: 7227: 7224: 7222: 7219: 7217: 7214: 7212: 7209: 7207: 7204: 7202: 7199: 7197: 7194: 7192: 7189: 7187: 7184: 7182: 7179: 7177: 7174: 7172: 7169: 7167: 7164: 7162: 7159: 7157: 7154: 7152: 7149: 7147: 7144: 7142: 7139: 7137: 7134: 7132: 7129: 7127: 7124: 7122: 7119: 7117: 7114: 7112: 7109: 7107: 7104: 7102: 7099: 7097: 7094: 7092: 7089: 7087: 7086:Simon Newcomb 7084: 7082: 7079: 7077: 7074: 7072: 7069: 7067: 7064: 7062: 7059: 7057: 7054: 7052: 7049: 7047: 7046:John Marshall 7044: 7042: 7039: 7037: 7036:James Madison 7034: 7032: 7029: 7027: 7024: 7022: 7019: 7017: 7014: 7012: 7009: 7007: 7006:Robert E. Lee 7004: 7002: 7001:Sidney Lanier 6999: 6997: 6994: 6992: 6989: 6987: 6984: 6982: 6979: 6977: 6974: 6972: 6969: 6967: 6964: 6962: 6959: 6957: 6954: 6952: 6949: 6947: 6946:Patrick Henry 6944: 6942: 6939: 6937: 6934: 6932: 6929: 6927: 6924: 6922: 6919: 6917: 6914: 6912: 6909: 6907: 6906:Robert Fulton 6904: 6902: 6899: 6897: 6894: 6892: 6889: 6887: 6884: 6882: 6879: 6877: 6874: 6872: 6869: 6867: 6864: 6862: 6859: 6857: 6854: 6852: 6849: 6847: 6844: 6842: 6839: 6837: 6834: 6832: 6829: 6827: 6824: 6822: 6819: 6817: 6814: 6812: 6809: 6807: 6804: 6802: 6799: 6797: 6794: 6792: 6789: 6787: 6784: 6782: 6779: 6777: 6774: 6772: 6769: 6767: 6764: 6762: 6761:Louis Agassiz 6759: 6757: 6754: 6752: 6749: 6747: 6744: 6743: 6740: 6735: 6728: 6723: 6721: 6716: 6714: 6709: 6708: 6705: 6693: 6690: 6689: 6687: 6683: 6677: 6674: 6673: 6671: 6667: 6660: 6657: 6654: 6653:Maud Franklin 6651: 6649: 6646: 6644: 6641: 6639: 6636: 6634: 6631: 6630: 6628: 6626:relationships 6622: 6615: 6614: 6610: 6609: 6607: 6603: 6596: 6595: 6591: 6588: 6587: 6583: 6580: 6579: 6575: 6565: 6564: 6560: 6557: 6556: 6552: 6542: 6541: 6537: 6534: 6533: 6529: 6526: 6525: 6521: 6518: 6517: 6513: 6510: 6509: 6505: 6502: 6501: 6497: 6494: 6493: 6489: 6486: 6485: 6481: 6478: 6475: 6474: 6472: 6468: 6464: 6457: 6452: 6450: 6445: 6443: 6438: 6437: 6434: 6427: 6423: 6420: 6417: 6413: 6410: 6408: 6406: 6402: 6400: 6398: 6394: 6391: 6390: 6385: 6384: 6379: 6377: 6374: 6368: 6367: 6362: 6357: 6353: 6352: 6347: 6342: 6340: 6336: 6332: 6331: 6328: 6324: 6321: 6319: 6315: 6311: 6308: 6305: 6303: 6300: 6298: 6295: 6292: 6289: 6287: 6284: 6281: 6278: 6275: 6271: 6268: 6265: 6262: 6259: 6257: 6253: 6250: 6248: 6244: 6241: 6239: 6235: 6232: 6229: 6225: 6222: 6221: 6215: 6212: 6210: 6207: 6206: 6201: 6196: 6183: 6182:0-300-02384-7 6179: 6175: 6171: 6168: 6164: 6160: 6156: 6152: 6149: 6145: 6141: 6137: 6133: 6131:0-289-70836-2 6127: 6123: 6118: 6115: 6111: 6107: 6104: 6100: 6096: 6095: 6090: 6088: 6083: 6080: 6076: 6075:Sutton, Denys 6073: 6070: 6066: 6062: 6058: 6055: 6052: 6048: 6045: 6044:0-517-05773-5 6041: 6037: 6033: 6030: 6026: 6023: 6019: 6015: 6011: 6008: 6005: 6001: 5997: 5993: 5989: 5987:0-354-04224-6 5983: 5979: 5975: 5971: 5968: 5964: 5960: 5956: 5953: 5952:2-08013-578-3 5949: 5945: 5941: 5937: 5935: 5932:Whistler and 5929: 5926: 5923: 5922:0-300-10125-2 5919: 5915: 5911: 5908: 5907:1-56282-327-2 5904: 5900: 5896: 5893: 5892:0-300-07611-8 5889: 5885: 5881: 5878: 5877:1-56098-300-0 5874: 5870: 5866: 5863: 5859: 5855: 5851: 5848: 5844: 5840: 5836: 5833: 5829: 5825: 5821: 5818: 5817:0-300-09906-1 5814: 5810: 5806: 5803: 5802:0-85331-856-5 5799: 5795: 5791: 5788: 5787:0-520-23049-3 5784: 5780: 5776: 5773: 5772:0-300-03283-8 5769: 5765: 5761: 5758: 5754: 5751: 5748: 5744: 5741: 5738: 5734: 5733:Fleming, John 5730: 5727: 5724: 5723:90-400-9183-8 5720: 5716: 5712: 5709: 5708:0-300-08449-8 5705: 5701: 5697: 5693: 5691:0-04-927009-5 5687: 5683: 5678: 5675: 5671: 5667: 5663: 5660: 5656: 5652: 5648: 5643: 5641:0-04-927009-5 5637: 5633: 5628: 5623: 5621:0-900075-61-9 5617: 5613: 5609: 5605: 5602: 5598: 5597:1-85437-145-2 5594: 5590: 5586: 5583: 5580: 5579:1-85894-200-4 5576: 5572: 5568: 5565: 5564:9780393018479 5561: 5557: 5553: 5549: 5547:9780711236738 5543: 5539: 5534: 5531: 5527: 5523: 5519: 5516: 5515:0-8109-3968-1 5512: 5508: 5504: 5501: 5500:1-56098-415-5 5497: 5493: 5489: 5488: 5480: 5476: 5473: 5470: 5469: 5464: 5461: 5457: 5453: 5449: 5445: 5444: 5434: 5432:0-679-40099-0 5428: 5423: 5422: 5415: 5411: 5410: 5405: 5400: 5395: 5391: 5387: 5381: 5377: 5372: 5370: 5369:1-85170-904-5 5366: 5362: 5358: 5356: 5355:1-85177-338-X 5352: 5348: 5344: 5341: 5340:1-880908-70-0 5337: 5331: 5327: 5323: 5317: 5313: 5312: 5306: 5302: 5301: 5295: 5291: 5290: 5284: 5281: 5277: 5273: 5267: 5263: 5258: 5256: 5252: 5246: 5242: 5238: 5232: 5228: 5227: 5221: 5220: 5199: 5193: 5186: 5181: 5165: 5159: 5143: 5139: 5133: 5127: 5125: 5119: 5114: 5108: 5106: 5100: 5099:Golding, John 5095: 5089: 5087: 5080: 5074: 5069: 5062: 5056: 5054: 5046: 5041: 5034: 5029: 5022: 5016: 5009: 5004: 4995: 4987: 4981: 4965: 4959: 4943: 4937: 4935: 4927: 4921: 4912: 4896: 4892: 4886: 4879: 4874: 4865: 4858: 4853: 4847:, p. 43. 4846: 4841: 4834: 4829: 4813: 4807: 4798: 4791: 4786: 4784: 4776: 4771: 4764: 4759: 4750: 4741: 4734: 4729: 4722: 4717: 4711:, p. 63. 4710: 4709:Peters (1996) 4705: 4697: 4693: 4687: 4680: 4679:Peters (1996) 4675: 4668: 4664: 4661: 4656: 4649: 4644: 4637: 4632: 4625: 4620: 4613: 4608: 4601: 4596: 4589: 4584: 4578:, p. 60. 4577: 4576:Peters (1996) 4572: 4565: 4560: 4553: 4548: 4546: 4544: 4542: 4534: 4529: 4513: 4509: 4505: 4499: 4492: 4487: 4481: 4480:0-89468-212-1 4477: 4473: 4467: 4460: 4455: 4448: 4443: 4435: 4433:9780804151122 4429: 4425: 4424: 4416: 4409: 4404: 4397: 4392: 4385: 4380: 4374:, p. 57. 4373: 4372:Peters (1996) 4368: 4366: 4364: 4356: 4351: 4345:, p. 55. 4344: 4343:Peters (1996) 4339: 4337: 4330:, p. 54. 4329: 4328:Peters (1996) 4324: 4322: 4314: 4309: 4302: 4297: 4290: 4285: 4278: 4273: 4271: 4262: 4258: 4256: 4248: 4232: 4230: 4222: 4215: 4210: 4203: 4198: 4183: 4181:9780486218755 4177: 4173: 4172: 4164: 4158: 4155: 4151: 4145: 4129: 4125: 4119: 4110: 4103: 4097: 4090: 4084: 4077: 4072: 4065: 4060: 4053: 4048: 4032: 4028: 4022: 4007: 4005: 3997: 3991:, p. 37. 3990: 3989:Peters (1996) 3985: 3969: 3965: 3959: 3952: 3951:Peters (1996) 3947: 3945: 3943: 3941: 3933: 3932:Hardie (1921) 3928: 3922:, p. 18. 3921: 3920:Hardie (1921) 3916: 3909: 3904: 3889: 3885: 3884:"The Doorway" 3879: 3872: 3867: 3861: 3860:1-85170-904-5 3857: 3853: 3847: 3840: 3835: 3828: 3823: 3816: 3811: 3804: 3803:Peters (1996) 3799: 3790: 3782: 3778: 3771: 3762: 3753: 3747: 3746:0-85331-856-5 3743: 3739: 3733: 3726: 3721: 3719: 3712:, p. 34. 3711: 3710:Peters (1996) 3706: 3699: 3694: 3692: 3682: 3675: 3670: 3663: 3658: 3651: 3646: 3639: 3634: 3632: 3615: 3611: 3605: 3598: 3593: 3591: 3583: 3578: 3572:, p. 30. 3571: 3570:Peters (1996) 3566: 3550: 3546: 3540: 3533: 3528: 3526: 3519:, p. 19. 3518: 3517:Peters (1996) 3513: 3506: 3505:Peters (1996) 3501: 3495:, p. 17. 3494: 3493:Peters (1996) 3489: 3473: 3469: 3467: 3459: 3452: 3447: 3441:, p. 15. 3440: 3439:Peters (1996) 3435: 3429:, p. 14. 3428: 3427:Peters (1996) 3423: 3417:, p. 90. 3416: 3411: 3409: 3402:, p. 13. 3401: 3400:Peters (1996) 3396: 3394: 3387:, p. 48. 3386: 3381: 3375:, p. 60. 3374: 3369: 3363:, p. 52. 3362: 3357: 3351:, p. 50. 3350: 3345: 3339:, p. 47. 3338: 3333: 3327:, p. 38. 3326: 3321: 3315:, p. 36. 3314: 3309: 3303:, p. 35. 3302: 3297: 3281: 3277: 3271: 3256: 3252: 3248: 3244: 3238: 3231: 3226: 3220:, p. 24. 3219: 3214: 3208:, p. 12. 3207: 3206:Peters (1996) 3202: 3200: 3198: 3196: 3194: 3187:, p. 23. 3186: 3181: 3173: 3166: 3159: 3154: 3148:, p. 20. 3147: 3142: 3136: 3135:0-517-05773-5 3132: 3128: 3122: 3116:, p. 11. 3115: 3110: 3094: 3090: 3084: 3076: 3072: 3065: 3058: 3053: 3047:, p. 11. 3046: 3045:Peters (1996) 3041: 3039: 3037: 3028: 3024: 3018: 3010: 3006: 3002: 2995: 2993: 2984: 2980: 2974: 2972: 2964: 2958: 2951: 2945: 2937: 2929: 2927:9780198614128 2923: 2919: 2915: 2911: 2910: 2904: 2903: 2897: 2890: 2883: 2882:Peters (1996) 2878: 2876: 2874: 2857: 2853: 2847: 2829: 2822: 2818: 2808: 2805: 2803: 2800: 2799: 2793: 2791: 2787: 2774:oil on canvas 2770: 2764: 2759: 2756:oil on canvas 2752: 2746: 2741: 2734: 2728: 2723: 2716: 2710: 2705: 2698: 2692: 2687: 2680: 2674: 2669: 2662: 2656: 2651: 2648:oil on canvas 2644: 2638: 2633: 2626: 2620: 2615: 2612:oil on canvas 2608: 2602: 2597: 2594:oil on canvas 2590: 2584: 2579: 2576:oil on canvas 2572: 2566: 2561: 2558:oil on canvas 2554: 2548: 2543: 2540:oil on canvas 2536: 2530: 2525: 2522:oil on canvas 2518: 2517: 2510: 2505: 2502:oil on canvas 2498: 2492: 2487: 2484:oil on canvas 2480: 2474: 2469: 2462: 2456: 2451: 2450: 2444: 2442: 2434: 2430: 2427: 2423: 2420: 2416: 2415: 2414: 2406: 2404: 2400: 2395: 2393: 2392: 2387: 2383: 2379: 2374: 2372: 2371: 2366: 2365:Marcel Proust 2361: 2360: 2355: 2351: 2349: 2348: 2343: 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James McNeill Whistler

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