Sammlung
James Mcneill Whistler
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Der Sturm, Sonnenuntergang - James Abbott McNeill Whistler
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La Vieille aux Loques - James Abbott McNeill Whistler
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Grün und Violett: Mrs. Walter Sickert - James Abbott McNeill Whistler
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Harmonie in Grau und Rosa – James Abbott McNeill Whistler
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Anordnung in Grau und Schwarz, Porträt der Mutter des Künstlers - James Abbott McNeill Whistler
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Nocturne in Grau und Gold: Chelsea Snow – James Abbott McNeill Whistler
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Kleiner Arthur - James McNeill Whistler
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Themse-Polizei – James McNeill Whistler
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Die Lumpensammlerin – James McNeill Whistler
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Kleid aus Samt - James McNeill Whistler
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Rue des Bons Enfants, Tours – James McNeill Whistler
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Die Senfhändlerin - James McNeill Whistler
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Das unsichere Mietshaus - James McNeill Whistler
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Früher Morgen: Die Themse bei Battersea - James McNeill Whistler
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Becquet - James McNeill Whistler
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Das kleine Becken - James McNeill Whistler
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Annie Haden - James McNeill Whistler
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La Belle Irlandaise - James McNeill Whistler
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La Mère Gérard – James McNeill Whistler
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Greenwich Pensionär - James McNeill Whistler
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Der Geigenspieler - James McNeill Whistler
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La Salute: Dämmerung - James McNeill Whistler
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Straße in Saverne - James McNeill Whistler
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Nocturne in Schwarz und Gold: Die fallende Rakete – James McNeill Whistler
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Artist Biography
James Mcneill Whistler
He was born in 1834 in Lowell, Massachusetts. His father, a civil engineer, took the family to St Petersburg to advise on the railroad to Moscow. The young Whistler took drawing classes at the Imperial Academy of Sciences. After the West Point disaster, he briefly worked for the US Coast and Geodetic Survey, learning the etching techniques he would use for the rest of his career, then left for Paris. He never lived in America again.
The painting everyone knows as Whistler's Mother is actually called Arrangement in Grey and Black No. 1. He named his works with musical terms (Nocturnes, Arrangements, Harmonies, Symphonies) to insist that painting was about tonal composition, not subject matter. The painting of his mother was about grey and black. That it also depicted his mother was, in principle, secondary.
In 1877, John Ruskin reviewed his Nocturne in Black and Gold: The Falling Rocket and wrote that he never expected to hear a coxcomb ask two hundred guineas for flinging a pot of paint in the public's face. Whistler sued for libel. The case was heard over two days in November 1878. He won, and was awarded damages of one farthing, the least valuable coin in the realm. The legal costs bankrupted him.
He signed his work with a butterfly. It started as a monogram inspired by the potter's marks on Chinese ceramics he collected, gradually evolving into an abstract butterfly shape. Around 1880, he added a stinger to it, representing both the delicate and the combative sides of his personality. The Peacock Room, his masterpiece of decorative art, extended his obsession with total harmony from a single painting to an entire architectural space.
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