Floor plan

Style galleriesThe Etching Revival

The Etching Revival

A work made of transfer lithograph in black, with stumping and scraping, on cream laid paper, laid down on a heavy backing sheet.
Cornwall, by Kerr Eby, 1927
A work made of etching and drypoint in brown on cream laid paper.
The image shows a village scene viewed from a low vantage point near a water's edge. A row of small, closely packed buildings and a church with an onion-shaped dome are prominently featured. There are gentle slopes leading towards the structures. The image uses fine, detailed line work to depict texture and depth in the buildings and natural landscape. The lines are delicate and varied, creating a sense of detail and softness. The color palette is monochromatic, with dark ink on a pale background, resulting in a classic and timeless feel.
A work made of lithograph on ivory wove paper.
The Fan Tree, by Ernest Haskell, ca. 1915

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. A work made of transfer lithograph in black, with stumping and scraping, on cream laid paper, laid down on a heavy backing sheet.
    La Belle JardinièreJames McNeill Whistler, 1894Courtesy of the Art Institute of Chicago
  2. Cornwall, by Kerr Eby, 1927
    CornwallKerr Eby, 1927Courtesy of the Smithsonian American Art Museum
  3. A work made of etching and drypoint in brown on cream laid paper.
    Nocturne, from Venice, a Series of Twelve Etchings (the "First Venice Set")James McNeill Whistler, 1879–80Courtesy of the Art Institute of Chicago

Section 1, south wall

  1. The image shows a village scene viewed from a low vantage point near a water's edge. A row of small, closely packed buildings and a church with an onion-shaped dome are prominently featured. There are gentle slopes leading towards the structures. The image uses fine, detailed line work to depict texture and depth in the buildings and natural landscape. The lines are delicate and varied, creating a sense of detail and softness. The color palette is monochromatic, with dark ink on a pale background, resulting in a classic and timeless feel.
    SchwabelweissOtto Henry Bacher, 1879Courtesy National Gallery of Art, Washington
  2. A work made of lithograph on ivory wove paper.
    Paulus, from Le Café-ConcertHenri-Gabriel Ibels, 1893Courtesy of the Art Institute of Chicago
  3. The Fan Tree, by Ernest Haskell, ca. 1915
    The Fan TreeErnest Haskell, ca. 1915Courtesy of the Smithsonian American Art Museum

Section 2, south wall

  1. The image shows a residential area with barren trees, rooftops of houses, and people walking along fences. The trees sway in the wind, their branches extending in various directions. The scene is depicted in a monochromatic black and white style, with expressive lines creating a sense of movement and a sketch-like quality. The horizon is high, showing rooftops and the sun above it.
    LandscapeTheo von BrockhusenCourtesy National Gallery of Art, Washington
  2. 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

Section 2, north wall

  1. A work made of photogravure in dark brown retouched with soft varnish (vernis mou), roulette and blue handcoloring on thick cream wove paper.
    Modern MasksFélicien Rops, 1889Courtesy of the Art Institute of Chicago
  2. Washerwomen Descending a Quai Staircase, by Alexandre Lunois, 1888
    Washerwomen Descending a Quai StaircaseAlexandre Lunois, 1888Courtesy of the Cleveland Museum of Art

Section 3, north wall

  1. 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
  2. A work made of drypoint with light plate tone on thin ivory japanese paper.
    Whistler with a HatJames McNeill Whistler, 1859Courtesy of the Art Institute of Chicago
  3. Head of an Old Man, by Kerr Eby, ca. 1918
    Head of an Old ManKerr Eby, ca. 1918Courtesy of the Smithsonian American Art Museum

Section 3, south wall

  1. The Petit Pont, by Charles Meryon, 1850
    The Petit PontCharles Meryon, 1850Courtesy of the Cleveland Museum of Art
  2. Bastille Day, by Maurice Prendergast, 1892
    Bastille DayMaurice Prendergast, 1892Courtesy of the Cleveland Museum of Art
  3. The Coolest Spot in New England--Summit of Mount Washington, from Harper's Bazar, July 23, 1870, by Winslow Homer, 1870
    The Coolest Spot in New England--Summit of Mount Washington, from Harper's Bazar, July 23, 1870Winslow Homer, 1870Courtesy of the Smithsonian American Art Museum