Floor plan

Style galleriesThe Etching Revival

The Etching Revival

The Fan Tree, by Ernest Haskell, ca. 1915
Nocturne: Palaces, by James McNeill Whistler, 1879–80
A work made of drypoint with light plate tone on thin ivory japanese paper.
The Old Orchard, by Arthur A. Marschner, 1915
Lady with the Lute, by Henry Wolf, 1909
A work made of photogravure in dark brown retouched with soft varnish (vernis mou), roulette and blue handcoloring on thick cream wove paper.

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 Fan Tree, by Ernest Haskell, ca. 1915
    The Fan TreeErnest Haskell, ca. 1915Courtesy of the Smithsonian American Art Museum
  2. Nocturne: Palaces, by James McNeill Whistler, 1879–80
    Nocturne: PalacesJames McNeill Whistler, 1879–80Courtesy of The Metropolitan Museum of Art
  3. 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

Section 1, south wall

  1. The Old Orchard, by Arthur A. Marschner, 1915
    The Old OrchardArthur A. Marschner, 1915Courtesy of the Smithsonian American Art Museum
  2. Lady with the Lute, by Henry Wolf, 1909
    Lady with the LuteHenry Wolf, 1909Courtesy of the Smithsonian American Art Museum
  3. 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

Section 2, 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 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

Section 2, north wall

  1. A work made of color lithograph on paper.
    The Old ViolinWilliam Michael Harnett, 1887Courtesy of the Art Institute of Chicago
  2. 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
  3. The Stranger, by Albert Sterner, 1916
    The StrangerAlbert Sterner, 1916Courtesy of the Smithsonian American Art Museum

Section 3, 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. The Petit Pont, by Charles Meryon, 1850
    The Petit PontCharles Meryon, 1850Courtesy of the Cleveland Museum of Art
  3. The Cathedral, by James Ensor, 1886
    The CathedralJames Ensor, 1886Courtesy of the Cleveland Museum of Art

Section 3, 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. Business Men's Class, by George Bellows, 1916
    Business Men's ClassGeorge Bellows, 1916Courtesy of the Cleveland Museum of Art