ABC Gallery, Dali, Salvador, Salvador Dali, World's, Painters, Great Artist, Largest, Online, Fine, Velázquez, Art, Gallery, artchive, abc gallery, gallery abc, black goya painting, beautiful pictures, cezanne, caravaggio, Images, fine art tattoos, fine art tattoo, added, picaso,goya paintings, rose period, blue period, early works, daily, 畢加索 , piccasso, picaso, from, Picasso, to, Pissaro, and, Bernini, to, Bellini, Over, 14,000, images, of, oil, paintings, from, Abstract Expressionists African Art ALTDORFER American Art Ancient Art ARDON ARP Art Nouveau AVERY BACON BAILEY BALLA BALTHUS Baroque BASQUIAT Bauhaus BAUMEISTER BAZILLE BEARDSLEY BECKMANN BELLINI BELLOTTO BELLOWS BERNINI BEUYS BIERSTADT BINGHAM BLAKE BLUEMNER BOCCIONI BÖCKLIN BOHROD BONNARD BOSCH BOTERO BOTTICELLI BOUDIN BOUGUEREAU BRANCUSI BRAQUE BRONZINO BROWN BRUCE BRUEGEL BURCHFIELD BURNE-JONES CAILLEBOTTE CAMPIN CANALETTO CARAVAGGIO CARR CARRACCI CASSATT Cave Paintings CÉZANNE CHAGALL CHARDIN CHIHULY Chinese Art CHURCH CIMABUE CLEMENTE COLE CONSTABLE Contemporary COPLEY CORINTH CORNELL COROT CORREGGIO COURBET CRANACH CRIVELLI Cubism Dada DALÍ DAUBIGNY DAUMIER DAVID, G DAVID, J- L DE CHIRICO DE HOOCH DE KOONING DE LA TOUR DEGAS DELACROIX DELAUNAY DEMUTH DERAIN DIEBENKORN DONATELLO DONGEN DOVE DUBUFFET DUCHAMP DUFY DURAND DÜRER EAKINS Egyptian Art EL GRECO ERNST ESCHER Expressionism FISCHL FRA ANGELICO FRA CARNEVALE FRAGONARD FRANKENTHALER FREUD FRIEDRICH FUSELI Futurism GAINSBOROUGH GAUDI GAUGUIN GENTILESCHI GERICAULT GHIBERTI GHIRLANDAIO GIACOMETTI GIORGIONE GIOTTO GLACKENS GOES GOODMAN GOYA GRAY Greek Art GRIS Group of Seven GRÜNEWALD GUSTON HALS HARING HARNETT HARTLEY HASSAM HAUSMANN HEADE HENRI HEPWORTH HESSE HIROSHIGE HIRST HOCKNEY HODGKIN HOGARTH HOKUSAI HOLBEIN HOMER HOPPER Hudson River School HUNDERTWASSER HUNT IMMENDORFF Impressionism INGRES INNESS JOHNS JORDAENS KAHLO KANDINSKY KENSETT KIEFER KIENHOLZ KIRCHNER KITAJ KLEE KLIMT KLINE KOKOSCHKA LAWRENCE LE NAIN LEGER LEONARDO LEVINE LEYSTER LICHTENSTEIN LIOTARD LIPPI LISSITZKY LOTTO LÜPERTZ MACKE MAGRITTE MALEVICH MAN RAY MANET MANTEGNA MARC MARSH MARTINI MASACCIO MATISSE MEMLING MICHELANGELO MILLAIS MILLET MIRO MITCHELL MODIGLIANI MONDRIAN MONET MOORE MORAN MORANDI MOREAU MORISOT MUCHA MUNCH MURILLO MURRAY Neo-Classical NEEL NOLDE O'KEEFFE PARMIGIANINO PEARLSTEIN PETO Photographers PICASSO PIERO della FRANCESCA PIERO di COSIMO PIRANESI PISSARRO POLKE POLLOCK Pop Art PORTER POSADA Post-Impressionism POUSSIN Pre-Raphaelites PRENDERGAST PUVIS RAPHAEL RAUSCHENBERG REDON REMBRANDT REMINGTON Renaissance Art RENOIR RICHTER RIVERA ROCKWELL Rococo RODIN Roman Art Romanticism ROSSETTI ROTHKO ROUAULT H. ROUSSEAU T. ROUSSEAU ROUSSEL RUBENS RUISDAEL RYDER SARGENT SCHIELE SCHWITTERS Sculptors SEURAT SHEELER SIGNAC SIGNORELLI SISLEY SLOAN SOHLBERG SOROLLA Spanish Art SPILLIAERT DE STAEL Surrealism SWEERTS Symbolism TAMAYO TANNER TANSEY THIEBAUD TIEPOLO TINTORETTO TISSOT TITIAN TOULOUSE-LAUTREC TREVIÑO TURNER TWOMBLY UCCELLO VAN DYCK VAN EYCK VAN GOGH VELÁZQUEZ VERMEER VERONESE WARHOL WATTEAU WEST WEYDEN WHISTLER Women Artists WYETH ZURBARAN Velazquez

WHISTLER

(James Abbott McNeill Whistler, 1834-1903)

"Whistler was the son of a railway engineer, born in Lowell, Massachusetts, but throughout his life he pretended to be a Southern gentleman. He was, in most imaginable ways, self-invented. Like West, he was irked by the low status America accorded its artists. His solution was not to attach himself to a court, as West did, but to depart for Paris and London and pretend to be a native aristocrat from an America he would never revisit. Perhaps his fixation on rank was impressed early: he was partly raised in Russia, where his father was designing the St. Petersburg-Moscow railway for Czar Nicholas I. It may have been reinforced at the military academy at West Point, from which he flunked out in 1854 for his cluelessness about chemistry. "Had silicon been a gas," he would say later, "I would have been a major general." He left for Paris the next year, aged twenty-one. Thus, although he liked to pose as a dashing Tidewater cavalier, Whistler never became an officer, still less saw action in the Civil War. This insufficiency troubled him, and it accounts for a peculiar adventure he undertook in 1866, when he sailed from France to Chile - a long and grueling trip across the Atlantic and around Cape Horn - to be present at a Spanish naval blockade of the port of Valparalso. Whether Whistler thought his being there would make an ounce of difference in the outcome of Chile's small colonial rebellion, one cannot tell; in the event, the Spanish warships bombarded Valparaiso and reduced most of its waterfront to rubble, while Whistler, along with most of the Chilean officials, fled for the hills. By the end of 1866 he was back in Paris with a few misty, blue, crepuscular seascapes of Valparaiso to show for his trip, but no honorable scars.

"Whistler was accepted by Paris as no American painter before him had been. As a young man, he worked with Gustave Courbet. He enjoyed the respect of Édouard Manet and Edgar Degas, though the latter sometimes gave him the sharp edge of his tongue - "Visslair, you behave as though you had no talent." He appears (with Baudelaire, Manet, and other luminaries) in Fantin-Latour's group portrait of the rising art stars of 1864, Homage to Delacroix. "This American is a great artist," said Camille Pissarro, "and the only one of whom America can be justly proud." And Marcel Proust would turn part of his name, unpronounceable by the French, into an anagram: he became the painter Elstir in A la recherche A temps perdu. Posterity, of course, has not set him alongside those who saw him as a colleague. Whistler was one of those artists whose legend as wit, dandy, and esthetic kamikaze - for what was his libel suit against John Ruskin but a suicide mission, compelled by his own pose of "Southern honor"? - continued after his death and became a barrier to proper appraisal of his work. One would like to think that Whistler the artist flies clear of Whistler the celebrity, the "character." Not so. On the one hand, his self-construction, his sense of the self as a work of art, remains as fiercely impressive as Oscar Wilde's. "Float like a butterfly, sting like a bee" - he did that long before Muhammad All was born. But though a fine painter, he was never a great one, and it is absurd to class him with Degas or Manet. He didn't have the range, the formal toughness, or the breadth of human curiosity for that.

"Valparaiso was as close as Whistler ever got to the Orient, but he was seen in France and England as a cultural bridge to Japan. He was obsessed by the formal beauty of Oriental art, especially Japanese prints (which were available by the ream in Paris and London) and Chinese blue-and-white porcelain, of which he amassed a choice collection. Through the study of Japanese concision, he brought an esthetic of hints and nuances into late-nineteenth-century painting. His abhorrence of narrative, his refusal to moralize through art, his preference for the exquisitely designed moment over the slice of life: these were new, and they epitomized the ideal of Art for Art's Sake. It was provocative, in 1871, to call a portrait of his mother Arrangement in Grey and Black, No. 1. To reduce one's dear mama to an "arrangement," however devotedly the arrangement was painted, implied an aversion to the banalities about motherhood that filled the Victorian air. It contradicted the ostentatious cult of what Americans today call "family values," which Whistler viewed as mere cultural baggage. It proposed that the esthetic life of shapes mattered at least as much as social piety.

"Whistler's Mother" remains his most famous painting - up there in thegrab bag of images which, for one reason or another, usually unconnected with their quality as art, everyone knows, like the Mona Lisa and Grant Wood's American Gothic. The painting that made his reputation was earlier, and better. Painted in 1862 it is a portrait of his Irish model and lover, Jo Hiffernan: The White Girl (Symphony in White No. 1). Shown in London first and then in Paris, it provoked a buzz of irrelevant interpretation. The expressionless young woman in virginal white, standing on a wolfskin with a lily in her hand (that floral emblem of the Aesthetic Movement), was declared to be a bride on the morning after her wedding night; or a fallen ex-virgin; or a victim of mesmerism - anything except what she actually was: a model posing in Whistler's studio to give him a pretext to paint shades of white with extreme virtuosity and subtlety. The story was that there was no story. It was Whistler's first sally against the narrative insistence in French and (especially) British art, though by no means the last.

"In his later, more Japanese-influenced work, Whistler changed the way people saw the world. His taste for the indefinite, the twilit, set in a matrix of extremely conscious formality, invented a new landscape, as Oscar Wilde acknowledged in 1889:

Where, if not from the Impressionists, do we get those wonderful brown fogs that come creeping down our streets, blurring the gas-lamps.... To whom, if not to [Whistler], do we owe the lovely silver mists that brood over our river, and turn to faint forms of fading grace curved bridge and swaying barge? The extraordinary change that has taken place in the climate of London during the last ten years is entirely due to a particular school of Art.
"Wilde was thinking of Whistler's Thames nocturnes of the 1870s, such as Nocturne in Blue and Gold, Old Battersea Bridge, c. 1872-75. It is a perfect example of Whistler's translations from the Japanese. Its point of origin was probably a woodblock print by Hiroshige, which features a large curving bridge with fireworks behind it, on a river at night. Whistler's version brings the big T of the pier and roadway of the bridge so high that it no longer resembles Hiroshige's, or bears the least physical resemblance to any structure over the Thames, let alone Battersea Bridge. The dim figure in the foreground, balanced on the stern of a barge, could equally well be a Japanese boatman. But the essence of the painting is its haunting, intense, twilight blue - a blue so ethereal and pervasive that it appears to supersede nature in artifice, while the falling rocket fire spangles it like the gold flakes embedded in Japanese maki-e enamel.

"At about the time he painted it, Whistler was working on another and bigger blue-and-gold project, his greatest sustained essay in the decorative: the Peacock Room, now in the Freer Gallery in Washington. Originally it was painted for the London house of an English millionaire, Frederick Leyland, who had asked his architect Thomas Jeckyll to adapt a dining room to display his collection of blue-and-white Chinese and Japanese porcelain. Its walls were covered with panels of antique Cordovan leather, which Whistler proceeded to cover with thick layers of glossy blue-green paint, meant to imitate the surface of Japanese enamel, decorated with designs of peacocks in gold leaf. Leyland's pique at losing his expensive leather, which the antique dealer who sold it to him had claimed, no doubt falsely, was salvaged from the wreck of the Spanish Armada in 1588, set off a train of quarrels and recriminations between the annoyed patron and the touchy artist. Determined to finish his masterpiece, Whistler agreed to halve the agreed fee of 2,000 pounds. Then Leyland was "much perturbed" to find that Whistler, with his mania for publicity, had been inviting not only artist friends and prospective patrons but the press and the public into his house to view the work in progress. In revenge, he insulted Whistler by paying him in pounds, not guineas. One paid tradesmen in pounds, professionals in guineas - and Whistler was extremely sensitive on the matter of his professional standing. Whistler's own revenge was to decorate the south wall with a design of two squabbling peacocks, one rich and the other poor, somewhat in the manner of an Edo period Japanese screen. Its immediate source was an 1804 woodblock print by Utamaro, Utamaro Painting a Ho-o Bird in One of the Green Houses. The bird on the right is Leyland, drawn up in a haughty attitude with disks of gold and silver - his money - scattered on the ground before him. The other is Whistler, rejecting the filthy lucre with equal hauteur.

"From then on Whistler was constantly in difficulties with money, and he went to his grave blaming Leyland for his misfortunes. But the worst blow to his career - an entirely self-inflicted wound - came in 1878. The year before, the Great Cham of English art criticism, John Ruskin, now in his sixties and beginning to show signs of the madness and melancholy that disfigured his last years, wrote a vehement attack on Nocturne in Black and Gold: The Falling Rocket, which Whistler had exhibited at the Grosvenor Gallery in London. Whistler's impressionistic and evocative style was, of course, the very thing that Ruskin hated most, and he pulled out all the stops: "The ill-educated conceit of the artist ... approached the aspect of wilful imposture," and "I have seen, and heard, much of Cockney impudence before now; but never expected to hear a coxcomb ask two hundred guineas for flinging a pot of paint in the public's face." The national press quoted and requoted this at once, and there was no way around the fact that such a widely circulated opinion from a critic regarded as the supreme English authority on art would do grave damage to an artist's career.

"Whistler sued for libel. It is rarely wise to sue a critic. He won the case, but it was a Pyrrhic victory: the judge awarded him one farthing in damages, and the costs of the trial bankrupted him. Whistler lost his house, his collection of blue-and-white porcelain - everything. The falling rocket took him down with it; that disputed firework might have been Whistler's own career."

text from "American Visions", by Robert Hughes

 WHISTLER_whistlers_mother

Not Found

 WHISTLER_whistler_white_girl

Whistler, James Symphony in White, No. 1: The White Girl 1862 Oil on canvas 214.6 x 108 cm (84 1/2 x 42 1/2 in.) National Gallery of Art, Washington

 WHISTLER_whistler_wapping_dtl

Whistler, James Wapping Detail 1861-64 Oil on canvas 71.1 x 101.6 cm National Gallery of Art, Washington

 WHISTLER_whistler_wapping

Whistler, James Wapping 1860-4 Oil on canvas 71.1 x 101.6 cm (28 x 40 in) National Gallery of Art, Washington

 WHISTLER_whistler_symphony_white2

Whistler, James Symphony in White, No. 2: The Little White Girl 1864 Oil on canvas 76.5 x 51.1 cm (30 1/8 x 20 1/8 in) Tate Gallery, London

 WHISTLER_whistler_st_marks

Whistler, James Nocturne: Blue and Gold - St Mark's, Venice 1879-80 44.5 x 59.7 cm (17 1/2 x 23 1/2 in.) National Museum of Wales, Cardiff

 WHISTLER_whistler_red_black

Whistler, James Red and Black: The Fan 1891-94 Oil on canvas 187.4 x 89.8 cm (73 3/4 x 35 3/8 in.) Hunterian Art Gallery, University of Glasgow

 WHISTLER_whistler_purple_rose

Whistler, James Purple and Rose: The Lange Leizen of the Six Marks 1864 Oil on canvas 92 x 61.5 cm (36 1/4 x 24 1/4 in) Philadelphia Museum of Art

 WHISTLER_whistler_peacock_room

Whistler, James Peacock Room central shutter 1876-77 369.5 x 141 cm Freer Gallery, Washington

 WHISTLER_whistler_peacock_fight

Whistler, James Fighting Peacocks South panel of Peacock Room 180.3 x 472.5 cm Freer Gallery, Washington

 WHISTLER_whistler_old_battersea_bridge

Whistler, James Nocturne: Blue and Gold - Old Battersea Bridge 1872-77 Oil on canvas 68.3 x 51.2 cm (26 7/8 x 20 1/8 in.) Tate Gallery, London

 WHISTLER_whistler_lime-burner

Whistler, James The Lime-burner 1859 Etching and drypoint printed in black ink on cream laid paper with watermark of bricked arch in shield surrounded by stylized foliage Plate: 25.1 x 17.6 cm (9 7/8 x 6 7/8 in.)

 WHISTLER_whistler_duret

Whistler, James Arrangement in Flesh Colour and Black: Portrait of Theodore Duret 1883-84 Oil on canvas 193.4 x 90.8 cm (76 1/8 x 35 3/4 in.) The Metropolitan Museum of Art, New York

 WHISTLER_whistler_cremorne_gardens

Whistler, James Cremorne Gardens, No. 2 1872-77 Oil on canvas 68.5 x 134.9 cm (27 x 53 1/8 in.) The Metropolitan Museum of Art, New York

 WHISTLER_whistler_chelsea

Whistler, James Nocturne: Blue and Silver - Chelsea 1871 Oil on wood 50.2 x 60.8 cm (19 3/4 x 23 7/8 in.) Tate Gallery, London

 WHISTLER_whistler_carlyle

Whistler, James Arrangement in Grey and Black, No. 2: Portrait of Thomas Carlyle 1872-73 Oil on canvas 171.1 x 143.5 cm (67 3/8 x 56 1/2 in.) Glasgow Museum and Art Gallery

 WHISTLER_whistler_battersea_dtl

Whistler, James Nocturne in Blue and Gold: Old Battersea Bridge Detail 1872 Oil on canvas 66.6 x 50.2 cm Tate Gallery, London

 WHISTLER_whistler_at_the_piano

Whistler, James At The Piano 1858-59 Oil on canvas 67 x 91.6 cm (26 3/8 x 36 1/8 in.) The Taft Museum, Cincinnati, Ohio

 WHISTLER_whistler_alexander

Whistler, James Harmony in Grey and Green: Miss Cicely Alexander 1872-74 Oil on canvas 190.2 x 97.8 cm (74 7/8 x 38 1/2 in.) Tate Gallery, London

 WHISTLER_GREYBLAK

WHISTLER, James Arrangement in Grey and Black: Portrait of the Painter's Mother 1871 Oil on canvas 56 3/4 x 64 in. (144.3 x 162.5 cm) Musee d'Orsay, Paris

 WHISTLER_FALLING_ROCKET

Whistler, James Nocturne in Black and Gold: The Falling Rocket 1875 Oil on wood 60.3 x 46.6 cm (23 3/4 x 18 3/8 in.) Detroit Institute of Arts

 WHISTLER_CREMORNE_LIGHTS

Whistler, James Nocturne: Blue and Silver - Cremorne Lights 1872 Oil on canvas 50.2 x 74.3 cm (19 3/4 x 29 1/4 in.) Tate Gallery, London

 WHISTLER_BRWNGOLD

Whistler, James Brown and Gold 1895-1900 Oil on canvas 37 3/4 x 20 1/4 in. (95.8 x 51.5 cm) Hunterian Art Gallery, University of Glasgow

whistler_Nocturne_in_Blue_and_Green;_Chelsea

Whistler

Whistler

James Abbott McNeill Whistler. Nocturne in Blue and Green; Chelsea. 1870. Oil on canvas. Tate Gallery, London, UK.

whistler_Sea_and_Rain

Whistler

Whistler

James Abbott McNeill Whistler. Sea and Rain. 1865. Oil on canvas. The University of Michigan Museum of Art, Ann Arbor, MI, USA.

whistler_Portrait_of_Whistler_with_Hat

Whistler

Whistler

James Abbott McNeill Whistler. Portrait of Whistler with Hat. 1857-58. Oil on canvas. Freer Gallery of Art, Washington, DC, USA.

whistler_Head_of_a_Peasant_Woman

Whistler

Whistler

James Abbott McNeill Whistler. Head of a Peasant Woman. 1855-58. Oil on wood. Hunterian Art Gallery, Glasgow, UK.

whistler_Nocturne_in_Black_and_Gold:_The_Falling_Rocket

Whistler

Whistler

James Abbott McNeill Whistler. Nocturne in Black and Gold: The Falling Rocket. 1874-77. Oil on panel. The Detroit Institute of Arts, Detroit, USA.

whistler_Brown_and_Silver:_Old_Battersea_Bridge

Whistler

Whistler

James Abbott McNeill Whistler. Brown and Silver: Old Battersea Bridge. 1859-65. Oil on canvas. Addison Gallery of American Art, Andover, MA, USA.

whistler_Harmony_in_Blue_and_Silver:_Trouville

Whistler

Whistler

James Abbott McNeill Whistler. Harmony in Blue and Silver: Trouville. 1865. Oil on canvas. Isabella Stewart Gardner Museum, Boston, MA, USA.

whistler_Crepuscule_in_Opal:_Trouville

Whistler

Whistler

James Abbott McNeill Whistler. Crepuscule in Opal: Trouville. 1865. Oil on canvas. Toledo Museum of Art, Toledo, OH, USA.

whistler_Symphony_in_Gray_and_Green:_The_Ocean

Whistler

Whistler

James Abbott McNeill Whistler. Symphony in Gray and Green: The Ocean. 1866. Oil on canvas. The Frick Collection, New York, USA.

whistler_Crepuscule_in_Flesh_Color_and_Green:_Valparaiso

Whistler

Whistler

James Abbott McNeill Whistler. Crepuscule in Flesh Color and Green: Valparaiso. 1866. Oil on canvas. Tate Gallery, London, UK.

whistler_Battersea_Reach_from_Lindsey_Houses

Whistler

Whistler

James Abbott McNeill Whistler. Battersea Reach from Lindsey Houses. Late 1860s. Oil on canvas. Hunterian Art Gallery, Glasgow, UK.

whistler_Arrangement_in_Black:_Portrait_of_F

Whistler

Whistler

James Abbott McNeill Whistler. Arrangement in Black: Portrait of F. R. Leyland. 1870. Oil on canvas. Freer Gallery of Art, Washington, DC, USA.

whistler_Symphony_in_Gray:_Early_Morning_Thames

Whistler

Whistler

James Abbott McNeill Whistler. Symphony in Gray: Early Morning Thames. c. 1871. Oil on canvas. Freer Gallery of Art, Washington, DC, USA.

whistler_Arrangement_in_Gray_and_Black_No

Whistler

Whistler

James Abbott McNeill Whistler. Arrangement in Gray and Black No. 1: Portrait of the Artist's Mother. 1871. Oil on canvas. Musée d'Orsay, Paris, France.

whistler_Arrangement_in_Gray_and_Black_No

Whistler

Whistler

James Abbott McNeill Whistler. Arrangement in Gray and Black No.2: Portrait of Thomas Carlyle. 1872. Oil on canvas. Glasgow Museums and Art Galleries, Glasgow, UK.

whistler_Nocturne:_Blue_and_Silver_-_Cremorne_Lights

Whistler

Whistler

James Abbott McNeill Whistler. Nocturne: Blue and Silver - Cremorne Lights. 1872. Oil on canvas. Tate Gallery, London, UK.

whistler_Cremorne_Gardens,_No

Whistler

Whistler

James Abbott McNeill Whistler. Cremorne Gardens, No. 2. c. 1872-77. Oil on canvas. The Metropolitan Museum of Art, New York, USA.

whistler_Arrangement_in_Brown_and_Black:_Portrait_of_Miss_Rosa_Corder

Whistler

Whistler

James Abbott McNeill Whistler. Arrangement in Brown and Black: Portrait of Miss Rosa Corder. c. 1876. Oil on canvas. The Frick Collection, New York, USA.

whistler_Arrangement_in_Flesh_Color_and_Black:_Portrait_of_Théodore_Duret

Whistler

Whistler

James Abbott McNeill Whistler. Arrangement in Flesh Color and Black: Portrait of Théodore Duret. 1883-84. Oil on canvas. The Metropolitan Museum of Art, New York, USA.

whistler_Gray_and_Silver:_Mist_-_Lifeboat

Whistler

Whistler

James Abbott McNeill Whistler. Gray and Silver: Mist - Lifeboat. 1884. Oil on wood. Freer Gallery of Art, Washington, DC, USA.

whistler_A_Shop

Whistler

Whistler

James Abbott McNeill Whistler. A Shop. 1884-90. Oil on canvas. Hunterian Art Gallery, Glasgow, UK.

whistler_Chelsea_Houses

Whistler

Whistler

James Abbott McNeill Whistler. Chelsea Houses. c. 1880-87. Oil on wood. Stanford University Museum and Art Gallery, Stanford, CA, USA.

whistler_Harmony_in_Red:_Lamplight

Whistler

Whistler

James Abbott McNeill Whistler. Harmony in Red: Lamplight. 1886. Oil on canvas. Hunterian Art Gallery, Glasgow, UK.

whistler_The_Little_Rose_of_Lyme_Regis

Whistler

Whistler

James Abbott McNeill Whistler. The Little Rose of Lyme Regis. 1895. Oil on canvas. The Museum of Fine Arts, Boston, MA, USA.

whistler_The_Master_Smith_of_Lyme_Regis

Whistler

Whistler

James Abbott McNeill Whistler. The Master Smith of Lyme Regis. 1895. Oil on canvas. The Museum of Fine Arts, Boston, MA, USA.

whistler_Head_of_Old_Man_Smoking

Whistler

Whistler

James Abbott McNeill Whistler. Head of Old Man Smoking. c. 1858. Oil on canvas. Musée d'Orsay, Paris, France.

whistler_Nocturne_in_Blue_and_Gold_-_Old_Battersea_Bridge

Whistler

Whistler

James Abbott McNeill Whistler. Nocturne in Blue and Gold - Old Battersea Bridge. 1872-75. Oil on canvas. Tate Gallery, London, UK.

whistler_Nocturne_in_Blue_and_Silver

Whistler

Whistler

James Abbott McNeill Whistler. Nocturne in Blue and Silver. 1871/2. Oil on canvas.

whistler_Nocturne:_Grey_and_Gold_-_Westminster_Bridge

Whistler

Whistler

James Abbott McNeill Whistler. Nocturne: Grey and Gold - Westminster Bridge. 1871-74. Oil on canvas. Glasgow Museums and Art Galleries, Glasgow, UK.

whistler_Arrangement_in_White_and_Black

Whistler

Whistler

James Abbott McNeill Whistler. Arrangement in White and Black. c. 1876. Oil on canvas. Freer Gallery of Art, Washington, DC, USA.

whistler_Harmony_in_Blue:_The_Duet

Whistler

Whistler

James Abbott McNeill Whistler. Harmony in Blue: The Duet. c. 1878. Oil on canvas. Rhode Island School of Design, Museum of Art, Providence, Rhode Island, USA.

whistler_Arrangement_in_Black;_The_Lady_in_the_Yellow_Buskin_-_Portrait_of_Lady_Archibald_Campbell

Whistler

Whistler

James Abbott McNeill Whistler. Arrangement in Black; The Lady in the Yellow Buskin - Portrait of Lady Archibald Campbell. 1882-84. Oil on canvas. Philadelphia Museum of Art, Philadelphia, PA, USA.

whistler_Symphony_in_White_No_2:_The_Little_White_Girl

Whistler

Whistler

James Abbott McNeill Whistler. Symphony in White No 2: The Little White Girl. 1864. Oil on canvas. Tate Gallery, London, UK.

whistler_Arrangement_in_Flesh_Colour_and_Brown:_Portrait_of_Arthur_J

Whistler

Whistler

James Abbott McNeill Whistler. Arrangement in Flesh Colour and Brown: Portrait of Arthur J. Eddy. 1894. Oil on canvas. Art Institute of Chicago, Chicago, IL, USA.

whistler_Brown_and_Gold_(Self-Portrait)

Whistler

Whistler

James Abbott McNeill Whistler. Brown and Gold (Self-Portrait). 1895-1900. Oil on canvas. Hunterian Art Gallery, Glasgow, UK.

whistler_Trouville

Whistler

Whistler

James Abbott McNeill Whistler. Trouville. 1865. Oil on canvas. Art Institute of Chicago, Chicago, IL, USA.