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The Etching Revival

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

50 works · hang 4108 ·

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

Walk this roomRehang this room

Section 1, north wall

  1. The Creation, by Kálmán Kubinyi, before 1927
    The CreationKálmán Kubinyi, before 1927Courtesy of the Cleveland Museum of Art
  2. Washerwomen Descending a Quai Staircase, by Alexandre Lunois, 1888
    Washerwomen Descending a Quai StaircaseAlexandre Lunois, 1888Courtesy of the Cleveland 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. 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
  2. The Old Orchard, by Arthur A. Marschner, 1915
    The Old OrchardArthur A. Marschner, 1915Courtesy of the Smithsonian American Art Museum
  3. The image features a large building with a domed tower on the right side. The horizon shows hills, trees, and the sky. The brushstrokes give detailed texture to the scene, with a focus on the landscape and architecture. The color palette is sepia-toned. A tree, fence, smaller buildings, and a figure on a path add depth and perspective to the scene.
    Mission Santa Barbara, Looking SouthHenry Chapman Ford, 1888Courtesy National Gallery of Art, Washington

Section 2, 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. 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

Section 2, north wall

  1. Nocturne: Palaces, by James McNeill Whistler, 1879–80
    Nocturne: PalacesJames McNeill Whistler, 1879–80Courtesy of The Metropolitan Museum of Art
  2. 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
  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, north wall

  1. The image depicts a landscape with towering rock formations dominating the scene. The ground is rugged and textured, leading the eye towards the rock pillars in the center. A structure or building is perched atop one of these rocks. The background shows the horizon above the structure, with clouds and sky stretching out beyond. The artwork features detailed brushstrokes adding texture to the rocks. The color palette is monochromatic with varying shades of charcoal or ink, emphasizing the contrast between the rocks and the sky.
    The Cliffs of the TrinityJoseph Pennell, 1913Courtesy 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
  3. Lady with the Lute, by Henry Wolf, 1909
    Lady with the LuteHenry Wolf, 1909Courtesy of the Smithsonian American Art Museum

Section 3, south 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 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