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James Abbott McNeill WhistlerRue Furstenberg1894
1894
About the Item
Rue Furstenberg. 1894. Lithograph. Way 59; Levy 90; Tedeschi, Stratis and Spink catalog 97. Only state. 8 7/8 x 6 1/4 (sheet 14 1/4 x 8 7/8). A fine impression printed on cream laid paper with a 'D&C Blauw' watermark of a hunting horn in shield. From the posthumous edition of 37 printed by Goulding in 1903 (Way lists 26 lifetime impressions). Monogrammed with the butterfly in the stone. Housed in a double blue/gray archival French mat and an elegant 20 x 15 1/4-inch gold leaf frame.
According to Tedeschi, Stratis and Spink, "Rue Furstemberg is a small street behind Saint-Garmain-des-Pres in Paris, funning between rue de l'Abbaye and rue Jacob. In mid-August 1894, Whistler paused in the small place Furstenberg to make this experimental drawing, using a thin, transparent papier végétal that he had obtained from Lemercier....Whistler referred repeatedly to his pleasure in this small street scene, alling it a 'great favourite'" (p 305).
During his first stay in Paris in the 1850s, Whistler spent ours in the Louvre, learning and copying from the great masterpieces. Years later he was able to recreate the vast expanse of this exhibition hall and to capture visitors at their various activities.
One of the most significant figures in American art and a forerunner of the Post-Impressionist movement, James Whistler is celebrated for his innovative painting style and eccentric personality. He was bold and self-assured, and quickly developed a reputation for his verbal and legal retaliations against art critics, dealers, and artists who insulted his work. His paintings, etchings, lithographs and pastels epitomize the modern penchant for creating "art for art's sake," an axiom celebrated by Whistler and others in the Aesthetic movement. They also represent one of the earliest shifts from traditional representational art to abstraction that is at the heart of much of modern art.
- Creator:James Abbott McNeill Whistler (1834-1903, American)
- Creation Year:1894
- Dimensions:Height: 20 in (50.8 cm)Width: 15.25 in (38.74 cm)Depth: 1 in (2.54 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Storrs, CT
- Reference Number:1stDibs: LU33528768932
James Abbott McNeill Whistler
James Abbott McNeill Whistler was an American artist active during the American Gilded Age and based primarily in the United Kingdom. Whistler was born on July 11, 1834, in Lowell. During his formative years in Paris in the 1850s, Whistler was influenced by the injunctions of the poet and theorist Charles Baudelaire that artists should take subjects from modern life and seek a new beauty in the teeming cities. Whistler's first major suite of prints, his French Set brought critical acclaim but disappointing sales. Seeking more generous patrons, he moved to London in 1859. Initially, under the influence of his brother-in-law Francis Seymour Haden, a pioneer of the etching revival, he began a series of superbly observed and finely detailed views of the River Thames with its shipping, thriving wharves and picturesque characters. In his Thames Set etchings, Whistler often introduced the figures of workmen, boatmen or loungers in the foregrounds. Whistler died on July 17, 1903, in London.
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Located in Storrs, CT
The Master Smith. 1895. Lithograph. Way 84; Levy 123; Tedeschi, Stratis and Spink 120.i/ii. 4 1/2 x 5 1/2 (sheet 76 x 5 3/8). Only 15 lifetime impressions (in 2 states) were listed by Way; Goulding printed 38 impressions on 14 December 1903. The stone was erased in 1903. Printed on cream wove proofing paper. Monogrammed with the butterfly in the stone. A fine impression of this extremely rare lithograph.
Tedeschi, Stratis, and Spink write, page 366: As originally transferred to stone, the image includes trial marks made with a pointed crayon to the left of the sitter's shoulder. There is also a smudge at lower right below the image and a small stry mark upper right. Only one impression of this state has been located. Now in the Britigh Museum, London, it once belonged to Thomas Way and is illustrated in the Levy (1975) catalogue.' The impression illustrated above lacks the stray mark on the right, as the sheet is too small to accommodate it.
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