James Mcneill Whistler
American Painter and Printmaker, 1834-1903 James Abbott McNeill Whistler's deft brushwork and mighty ego made him one of London's best-known painters in the second half of the 1800s. Born in Massachusetts, Whistler spent most of his adult life in England and France, in an era when an American artist in Europe was something of a rarity. He specialized in landscapes and (especially later in his career) portraits; stylistically he is often linked with Claude Monet and August Renoir, though he was not exactly part of the Impressionist movement. His etchings also are highly regarded. Witty, cranky and a bit of a devil, Whistler was a regular gadabout in British society. He had a famous long-running feud with the playwright Oscar Wilde, each of them trying to outwit the other with cutting public remarks. Some critics of the era considered Whistler's work to be smudgy and too radical; after viewing Whistler's 1875 study of fireworks over the Thames, Nocturne in Black and Gold: the Falling Rocket, John Ruskin wrote: "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." Whistler successfully sued Ruskin for libel but was awarded only a farthing in damages,

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James Mcneill Whistler Nocturne in Grau und Gold, Westminster Bridge oil painting


Nocturne in Grau und Gold, Westminster Bridge
c. 1871-1874 Medium Oil on canvas Dimensions Deutsch: 47 x 62,3 cm cjr
Painting ID::  88479
James Mcneill Whistler
Nocturne in Grau und Gold, Westminster Bridge
c. 1871-1874 Medium Oil on canvas Dimensions Deutsch: 47 x 62,3 cm cjr
   
   
     

James Mcneill Whistler Wapping oil painting


Wapping
1861(1861) Medium oil on canvas Dimensions Deutsch: 71,1 x 101,6 cm cyf
Painting ID::  90538
James Mcneill Whistler
Wapping
1861(1861) Medium oil on canvas Dimensions Deutsch: 71,1 x 101,6 cm cyf
   
   
     

James Mcneill Whistler Symphonie in Wieb Nr. 3 oil painting


Symphonie in Wieb Nr. 3
1865/1867 Medium oil on canvas Dimensions Deutsch: 51,1 x 76,8 cm cyf
Painting ID::  91142
James Mcneill Whistler
Symphonie in Wieb Nr. 3
1865/1867 Medium oil on canvas Dimensions Deutsch: 51,1 x 76,8 cm cyf
   
   
     

James Mcneill Whistler Symphony in White oil painting


Symphony in White
Symphony in White No 3, 1866 (on the left: Joanna Hiffernan) cyf
Painting ID::  95043
James Mcneill Whistler
Symphony in White
Symphony in White No 3, 1866 (on the left: Joanna Hiffernan) cyf
   
   
     

James Mcneill Whistler Whistlers Mother oil painting


Whistlers Mother
1871 Type Oil on canvas Dimensions 144.3 cm x 162.4 cm cyf
Painting ID::  95058
James Mcneill Whistler
Whistlers Mother
1871 Type Oil on canvas Dimensions 144.3 cm x 162.4 cm cyf
   
   
     

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     James Mcneill Whistler
     American Painter and Printmaker, 1834-1903 James Abbott McNeill Whistler's deft brushwork and mighty ego made him one of London's best-known painters in the second half of the 1800s. Born in Massachusetts, Whistler spent most of his adult life in England and France, in an era when an American artist in Europe was something of a rarity. He specialized in landscapes and (especially later in his career) portraits; stylistically he is often linked with Claude Monet and August Renoir, though he was not exactly part of the Impressionist movement. His etchings also are highly regarded. Witty, cranky and a bit of a devil, Whistler was a regular gadabout in British society. He had a famous long-running feud with the playwright Oscar Wilde, each of them trying to outwit the other with cutting public remarks. Some critics of the era considered Whistler's work to be smudgy and too radical; after viewing Whistler's 1875 study of fireworks over the Thames, Nocturne in Black and Gold: the Falling Rocket, John Ruskin wrote: "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." Whistler successfully sued Ruskin for libel but was awarded only a farthing in damages,

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