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
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39. Julian Alden Weir (1852-1919) Coon Alley |
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(click on image to print)
Coon Alley
Etching, and drypoint, ca. 1895, 134 x 97 mm., Zimmerman 82 vi/vi; Library of Congress 16.
A fine impression with heavy, even plate tone, on old laid paper with full margins; inky fingerprints in the margins and slight rubbing at the bottom of the image. The title is unfortunate but not uncommon for the time. Weir was the son of Whistler's drawing teacher at West Point, Robert Walter Weir, and was trained both by his father and at the National Academy of Design in New York. He met Whistler first in 1877 and couldn't stand him, nor was he impressed by the paintings. But he saw something to be admired in the etchings and, despite some expressed negative opinions about them, they came to be the primary influence on his own, considerable etched work. In the case of this particular plate, one should also point out the very strong resemblance to Charles Meryon's Rue des Mauvais Garçons. But then, that was a masterpiece of printmaking that influenced Whistler too.
