Floor plan

Style galleriesThe Etching Revival

The Etching Revival

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.
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.
A work made of lithograph on ivory wove paper.
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.
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 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 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. 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
  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 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 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

Section 2, south wall

  1. The image shows a small body of water with grass-covered banks on either side. The viewpoint is slightly elevated, looking down at the scene. The horizon is in the upper third of the composition, separating the sky from the land. The artwork features intricate linework and stippling to create texture and detail, particularly in the tree branches. The color palette is monochrome, with shades of sepia and brown. A tree dominates the right side of the scene, leaning over the water. In the distance, more trees and fields are visible with minimal detail in the far background.
    Apple Trees along the Side of a DitchPieter Dupont, 1894Courtesy National Gallery of Art, Washington
  2. 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
  3. 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

Section 2, north wall

  1. 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
  2. Nocturne (Nocturne: The Thames at Battersea), by James McNeill Whistler, 1878
    Nocturne (Nocturne: The Thames at Battersea)James McNeill Whistler, 1878Courtesy of The Metropolitan Museum of Art
  3. 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

Section 3, north wall

  1. The Fan Tree, by Ernest Haskell, ca. 1915
    The Fan TreeErnest Haskell, ca. 1915Courtesy of the Smithsonian American Art Museum
  2. 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

Section 3, south wall

  1. The Old Orchard, by Arthur A. Marschner, 1915
    The Old OrchardArthur A. Marschner, 1915Courtesy 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. Nocturne: Palaces, by James McNeill Whistler, 1879–80
    Nocturne: PalacesJames McNeill Whistler, 1879–80Courtesy of The Metropolitan Museum of Art