Floor plan

Style galleriesThe Etching Revival

The Etching Revival

The Cathedral, by James Ensor, 1886
The Frugal Meal, by Pablo Picasso, September 1904, printed 1913
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
The Coolest Spot in New England--Summit of Mount Washington, from Harper's Bazar, July 23, 1870, by Winslow Homer, 1870
Business Men's Class, by George Bellows, 1916

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 Cathedral, by James Ensor, 1886
    The CathedralJames Ensor, 1886Courtesy of the Cleveland Museum of Art
  2. The Frugal Meal, by Pablo Picasso, September 1904, printed 1913
    The Frugal MealPablo Picasso, September 1904, printed 1913Courtesy 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 1, south wall

  1. The Coolest Spot in New England--Summit of Mount Washington, from Harper's Bazar, July 23, 1870, by Winslow Homer, 1870
    The Coolest Spot in New England--Summit of Mount Washington, from Harper's Bazar, July 23, 1870Winslow Homer, 1870Courtesy of the Smithsonian American Art Museum
  2. Business Men's Class, by George Bellows, 1916
    Business Men's ClassGeorge Bellows, 1916Courtesy of the Cleveland Museum of Art

Section 2, south wall

  1. Head of an Old Man, by Kerr Eby, ca. 1918
    Head of an Old ManKerr Eby, ca. 1918Courtesy of the Smithsonian American Art Museum
  2. Bastille Day, by Maurice Prendergast, 1892
    Bastille DayMaurice Prendergast, 1892Courtesy of the Cleveland Museum of Art
  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 2, north wall

  1. Evening, Melancholy I, by Edvard Munch, 1896
    Evening, Melancholy IEdvard Munch, 1896Courtesy 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 3, north 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. 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
  3. The Creation, by Kálmán Kubinyi, before 1927
    The CreationKálmán Kubinyi, before 1927Courtesy of the Cleveland Museum of Art

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
  3. 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