Floor plan

Style galleriesThe Etching Revival

The Etching Revival

The image shows a landscape with a waterscape. The horizon separates the water and the sky. In the distance, there are buildings, structures, and ships with tall masts. Close to us, there are reflections of the ships and structures in the water with fine brushstrokes. The style is impressionistic with thin lines conveying details. The color palette is monochromatic with sepia tones.
The Old Orchard, by Arthur A. Marschner, 1915
Sculptress, by Eugène Grasset, 1897
In proof of true love, a watercarrier skeleton arguing with a woman (Posada); two skeleton angels in upper corners (Manilla), by José Guadalupe Posada, ca. 1890–96
This image shows an elevated view of a grassy landscape with sparse trees and vegetation at the horizon. The linear brushstrokes create texture and movement in the grass and sky. The color palette is monochromatic with sepia tones. In the foreground, a figure is on a horse amidst tall grasses, while in the distance, another figure stands on the left and a cluster of trees is on the right. The sky has wisps of clouds.

The works in this room are listed below.

Works in this room

Artists who took up the etching needle again, from Whistler to the Paris printmakers.

Section 1, north wall

  1. The image shows a landscape with a waterscape. The horizon separates the water and the sky. In the distance, there are buildings, structures, and ships with tall masts. Close to us, there are reflections of the ships and structures in the water with fine brushstrokes. The style is impressionistic with thin lines conveying details. The color palette is monochromatic with sepia tones.
    Long LagoonJames McNeill Whistler, 1880Courtesy National Gallery of Art, Washington
  2. The Old Orchard, by Arthur A. Marschner, 1915
    The Old OrchardArthur A. Marschner, 1915Courtesy of the Smithsonian American Art Museum
  3. Sculptress, by Eugène Grasset, 1897
    SculptressEugène Grasset, 1897Courtesy of the Cleveland Museum of Art

Section 1, south wall

  1. In proof of true love, a watercarrier skeleton arguing with a woman (Posada); two skeleton angels in upper corners (Manilla), by José Guadalupe Posada, ca. 1890–96
    In proof of true love, a watercarrier skeleton arguing with a woman (Posada); two skeleton angels in upper corners (Manilla)José Guadalupe Posada, ca. 1890–96Courtesy of The Metropolitan Museum of Art
  2. This image shows an elevated view of a grassy landscape with sparse trees and vegetation at the horizon. The linear brushstrokes create texture and movement in the grass and sky. The color palette is monochromatic with sepia tones. In the foreground, a figure is on a horse amidst tall grasses, while in the distance, another figure stands on the left and a cluster of trees is on the right. The sky has wisps of clouds.
    Path through a Wheat Field (Sentier dans les bles)Charles-François Daubigny, 1862Courtesy National Gallery of Art, Washington

Section 2, south wall

  1. The image shows a small body of water with grass-covered banks on either side. The viewpoint is slightly elevated, looking down at the scene. The horizon is in the upper third of the composition, separating the sky from the land. The artwork features intricate linework and stippling to create texture and detail, particularly in the tree branches. The color palette is monochrome, with shades of sepia and brown. A tree dominates the right side of the scene, leaning over the water. In the distance, more trees and fields are visible with minimal detail in the far background.
    Apple Trees along the Side of a DitchPieter Dupont, 1894Courtesy National Gallery of Art, Washington
  2. Our Army before Yorktown, Virginia, from Harper's Weekly, May 3, 1862, by Winslow Homer, 1862
    Our Army before Yorktown, Virginia, from Harper's Weekly, May 3, 1862Winslow Homer, 1862Courtesy of the Smithsonian American Art Museum
  3. Lady with the Lute, by Henry Wolf, 1909
    Lady with the LuteHenry Wolf, 1909Courtesy of the Smithsonian American Art Museum

Section 2, north wall

  1. The image features a riverside scene with a large building in the center and smaller structures in the background. The sky is filled with clouds, and there are boats on the water. The artwork is done in an etching style, with detailed lines showing architectural elements, boats, and water ripples. The color scheme is monochromatic in shades of brown and black.
    L'ancien Louvre d'après une peinture de Zeeman, 1651 (The Old Louvre, from a Painting by Zeeman, l651)Charles Meryon, 1866Courtesy National Gallery of Art, Washington
  2. Cornwall, by Kerr Eby, 1927
    CornwallKerr Eby, 1927Courtesy of the Smithsonian American Art Museum
  3. The Fan Tree, by Ernest Haskell, ca. 1915
    The Fan TreeErnest Haskell, ca. 1915Courtesy of the Smithsonian American Art Museum

Section 3, north wall

  1. Nocturne (Nocturne: The Thames at Battersea), by James McNeill Whistler, 1878
    Nocturne (Nocturne: The Thames at Battersea)James McNeill Whistler, 1878Courtesy of The Metropolitan Museum of Art
  2. A work made of lithograph in black ink, with additions in brush and red, blue, yellow, green, orange-brown and gray watercolor on ivory wove paper.
    TingletangleEdvard Munch, 1895Courtesy of the Art Institute of Chicago

Section 3, south wall

  1. At the Café, by Édouard Manet, 1874
    At the CaféÉdouard Manet, 1874Courtesy of the Cleveland Museum of Art
  2. The image shows a landscape with a valley leading towards two mountain peaks known as the Peaks of Otter. The horizon is low, with the mountains dominating the scene. The brushwork is smooth and delicate, and the color palette consists of muted earth tones, greens, and soft blues. In the foreground, there are cattle grazing in a field with a wooden fence, and a couple of houses among trees to the left. Further back, there are open fields with horses and agricultural activities, leading to a dense tree line at the base of the mountains.
    View of the Peaks of OtterWoldemar Rau, 1858Courtesy National Gallery of Art, Washington
  3. The image displays a harbor filled with boats and ships. The perspective is slightly elevated, likely from a dock, with a partially visible boat and dock at the forefront. The horizon is in the upper third of the image, showing a distant cityscape with spires and structures. The brushwork is delicate, with fine, linear strokes typical of etching. The color palette is monochromatic, sepia tones creating a vintage and serene mood. The ships with tall masts populate the water, with reflections giving a sense of stillness. In the distance, faint impressions of buildings line the harbor, blending into the horizon.
    San GiorgioJames McNeill Whistler, 1880Courtesy National Gallery of Art, Washington