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The Etching Revival

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

50 works · hang 2242 ·

The rooms are imagined; every work on their walls is real.

Walk this roomRehang this room

Section 1, north wall

  1. The image shows a street scene from a close perspective down a narrow alleyway. The horizon is not visible, with buildings on both sides. The style features detailed etching with fine lines and shading for depth and texture. The color palette is monochromatic with black, gray, and off-white tones. The houses have worn facades, and there is a distant figure. The sky is dark and overcast, enhancing the shadow-filled scene.
    Street in SaverneJames McNeill Whistler, 1858Courtesy National Gallery of Art, Washington
  2. 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 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
  2. 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
  3. Nocturne: Palaces, by James McNeill Whistler, 1879–80
    Nocturne: PalacesJames McNeill Whistler, 1879–80Courtesy of The Metropolitan Museum of Art

Section 2, south wall

  1. 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
  2. A work made of lithograph in dark green on cream wove paper.
    Mévisto, from Le Café-ConcertHenri-Gabriel Ibels, 1893Courtesy of the Art Institute of Chicago
  3. Bastille Day, by Maurice Prendergast, 1892
    Bastille DayMaurice Prendergast, 1892Courtesy of the Cleveland Museum of Art

Section 2, north wall

  1. The image shows two individuals seated outdoors near a body of water with their feet submerged. Both individuals are seen from head to toe. The person on the left is seated with a slightly hunched posture, reading a document or a book. They have a balding head, wear glasses, a dark suit with the coat draped over their knees, and a top hat placed on the ground. The individual on the right is sitting upright with a scarf over their hair. They wear a long dress with a shawl, and their hands rest on their lap. The background features a bare tree and a rough, sketched environment. The sky and landscape are depicted in shades of light and dark.
    Une lecture intéressante et rafraichissanteHonoré Daumier, 1854Courtesy National Gallery of Art, Washington
  2. A work made of transfer lithograph in black on tan simili-parchment paper.
    Head of a Raven in Profile, from The Raven (Le Corbeau)Édouard Manet, 1875Courtesy of the Art Institute of Chicago
  3. A work made of lithograph on ivory wove paper.
    Paulus, from Le Café-ConcertHenri-Gabriel Ibels, 1893Courtesy of the Art Institute of Chicago

Section 3, north wall

  1. Cornwall, by Kerr Eby, 1927
    CornwallKerr Eby, 1927Courtesy of the Smithsonian American Art Museum
  2. At the Café, by Édouard Manet, 1874
    At the CaféÉdouard Manet, 1874Courtesy of the Cleveland Museum of Art
  3. 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

Section 3, south 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. 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