Whistler, His Followers and His Brother-In-Law
The Artistic Circle and the Artists Influenced by Him
The Artistic Circle and the Artists Influenced by Him
- Whistler, La Vieille aux Loques
- Whistler, The Rag Gatherers
- Whistler, The Music Room
- Whistler, Drouet
- Whistler, Old Hungerford Bridge
- Whistler, Tatting
- Whistler, Old Putney Bridge
- Whistler, San Giorgio
- Whistler, The Bridge, Venice
- Whistler, Alderney Street
- Whistler, Regent's Quadrant
- Whistler, The Tyresmith
- Whistler, Grand Rue, Dieppe
- Whistler, Clockmaker's House
- Whistler, The Smith
- Whistler, Back of the Gaiety
- Haden, Mytton Hall
- Haden, A Water Meadow
- Haden, Shere Mill Pond
- Haden, Sunset in Ireland
- Haden, The Breaking Up of the Agamemnon
- Keene, Portrait Mrs. Heseltine
- Greaves, Portrait of a Woman
- Roussel, Chelsea Palaces
- Roussel, Chelsea Children
- Roussel, Portrait Miss Austin
- Roussel, A Study by Lamplight
- Roussel, House in Green Park
- Way, Sailing Ship
- Sickert, Mother and Daughter
- Sickert, Mon Bon Dodo
- Winslow, Boat-Building Yards
- Addams, Little Market Place
- Anderson, Market Passage
- Bacher, Castello Quarter, Riva
- Menpes, Little Bridge, Amsterdam
- Menpes, Old Wooden House
- Short, George's Dock
- Weir, Coon Alley
- Hassam, The Little Church
- Pennell, Butcher's Row
- Pennell, St. Paul's
- Pennell, London Bridge
- Pennell, Tyburn
- Marin, Meaux Cathedral
- Marin, Market Place
- McBey, Antwerp
- McBey, The Silk Dress
- Leheutre, La Rochelle
- Leheutre, La Passerelle
- Jones, Workshop
- Winkler, Clay Street Hill
- Winkler, Low Tide
- Winkler, La Marchande Endormie
La Vieille aux Loques
Etching, 1858, 209 x 148 mm., Kennedy 21 iii/iii, Mansfield 21 iii/iii, from The French Set.
Fine, sharp impression on laid japan paper with good margins; slight paper toning in the margins. The original title to The French Set was Douze Eaux-Fortes d'après Nature and the etchings in it strongly reveal Whistler's espousal of the naturalist movement in art, avoiding literary evocation, story telling, symbolism and elevated subject matter, and focusing on things observed in the ordinary course of life and travel. But these etching were no mere snapshots and the choice of realistic portrayal of realistic subject matter by no means excluded artistic interpretation. The work here proceeds from light to dark as it moves from the outer edges of the plate to the center and the white bonnet of the old woman stands as the central highlight in the darkest portion of the plate. This was the first of Whistler's profile portraits of women, to be succeeded by many others, and it has remained one of his most popular etchings as well as the inspiration for works by many other etchers.