Floor plan

Style galleriesThe Etching Revival

The Etching Revival

Business Men's Class, by George Bellows, 1916
A work made of transfer lithograph in black on gray china paper.
The Frugal Meal, by Pablo Picasso, September 1904, printed 1913
A work made of lithograph on ivory wove paper.
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.

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. Business Men's Class, by George Bellows, 1916
    Business Men's ClassGeorge Bellows, 1916Courtesy of the Cleveland Museum of Art
  2. A work made of transfer lithograph in black on gray china paper.
    Under the Lamp ("Once upon a midnight dreary..."), from The Raven (Le Corbeau)Édouard Manet, 1875Courtesy of the Art Institute of Chicago

Section 1, south wall

  1. The Frugal Meal, by Pablo Picasso, September 1904, printed 1913
    The Frugal MealPablo Picasso, September 1904, printed 1913Courtesy of the Cleveland Museum of Art
  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 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

Section 2, south wall

  1. The image depicts a landscape with a river flowing through it. In the foreground, there is a small boat on the water, and in the background, sailboats are docked near a strip of land. Tall trees with sparse foliage are on the right side, with a structure nestled among them near the water. The horizon is slightly above the center of the image, with a calm sky above it. The brushstrokes vary in texture, with fine strokes for the sky and water and more detailed strokes for the trees. The color palette is muted, with sepia and gray tones creating a peaceful atmosphere. Birds are scattered in the sky.
    Shrewsbury RiverJohn Hill Millspaugh, 1887Courtesy National Gallery of Art, Washington
  2. The image depicts a landscape seen from a slightly elevated perspective, with a tranquil scene. The horizon is high in the composition, showing a vast view. There are a few distant trees and silhouettes blending into the sky. The brushstrokes are expressive and fluid, with a sketch-like quality depicting texture and movement in the trees and ground. The color palette is primarily monochrome, using shades of black and grey. Near the viewer, there are low plants and shrubs on sandy ground, leading to a small body of water reflecting dense trees. In the distance, the landscape becomes more open and sparse towards the horizon.
    Cape Ann WillowsCharles A. Platt, 1887Courtesy National Gallery of Art, Washington

Section 2, north wall

  1. 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
  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

Section 3, north wall

  1. This print displays a landscape with a wide view of flat land stretching towards the horizon. The ground is covered in small black dots, with some bare patches in the bottom center. A few silhouetted trees and a hint of smoke coming up from behind some rocks are visible in the distance. The gray sky dominates the scene with soft, swirling clouds.
    LowlandsTimothy Cole, 1918Courtesy National Gallery of Art, Washington
  2. 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

Section 3, 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. The Petit Pont, by Charles Meryon, 1850
    The Petit PontCharles Meryon, 1850Courtesy of the Cleveland Museum of Art
  3. Evening, Melancholy I, by Edvard Munch, 1896
    Evening, Melancholy IEdvard Munch, 1896Courtesy of the Cleveland Museum of Art

Section 4, south wall

  1. At the Café, by Édouard Manet, 1874
    At the CaféÉdouard Manet, 1874Courtesy of the Cleveland Museum of Art
  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