Nocturne: Palaces, previewed as a 16 by 20 inch giclée reproduction.

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James McNeill Whistler

American, 1834–1903

Nocturne: Palaces1879–80

Etching and drypoint; printed in dark brown ink on drum mounted medium weight ivory laid paper.

Sheet: 11 1/2 × 7 13/16 in. (29.2 × 19.8 cm) Plate: 11 1/2 × 7 13/16 in. (29.2 × 19.8 cm)

Courtesy of The Metropolitan Museum of Art · 40.63.8

Dark palaces rise above a narrow Venetian canal at night, their doorways and windows emerging from veils of brown ink. More about this work

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Format

Archival pigment inks on Hahnemühle Photo Rag, a 308 gsm cotton paper, with a white border.

Size
Size
16 × 20 in · image 12 × 17½
Paper
Hahnemühle Photo Rag, 308 gsm
Price
$56

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About this work

Dark palaces rise above a narrow Venetian canal at night, their doorways and windows emerging from veils of brown ink. Whistler, who spent fourteen months in Venice in 1879–80, avoided the famous sights and sought out back canals, doorways and courtyards. When printing this plate he left ink on its surface and wiped it selectively, so that every impression is a slightly different evening, darker or more luminous by turns. The image owes as much to the printer’s hand as to the etched line.

Written by Ochre Editions.

How it was made

Drypoint
Lines scratched straight into the plate with a needle throw up a ridge of metal, the burr, which holds ink and prints a soft, furred line. The burr wears down, so early impressions are the richest.
Etching
The artist draws with a needle through a waxy coating on a copper plate, and acid bites the exposed lines. The plate is then inked, wiped and printed under pressure, so the line keeps the freedom of drawing.
Pen and ink
Drawn with a quill or reed pen, often with wash added by brush to model light and shadow.

James McNeill Whistler

American, 1834–1903 · Born in Lowell, Massachusetts; died in London.

Whistler spent part of his boyhood in Russia, left West Point without graduating and trained as a painter in Paris before settling in London in 1859. He held that a picture was an arrangement of colour and form, and named his works symphonies, harmonies and nocturnes; a hostile review of one nocturne led to his 1878 libel suit against John Ruskin. He was equally committed to etching, and in his Venice plates of 1879–80 he left films of ink on the copper to suggest water and dusk.

Written by Ochre Editions.

See all 19 works by James McNeill Whistler

Rights and the museum’s record

Public domain. The Met has dedicated this image to the public domain under CC0, so anyone may copy, adapt and use it, for any purpose, without asking. Our prints and files are reproductions made from the museum’s image; the museum doesn’t endorse them.

Object number
40.63.8
Credit
Courtesy of The Metropolitan Museum of Art
Type
Prints
Department
Drawings and Prints
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