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The Etching Revival

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

50 works · hang 6429 ·

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

Walk this roomRehang this room

Section 1, north wall

  1. The Cathedral, by James Ensor, 1886
    The CathedralJames Ensor, 1886Courtesy of the Cleveland Museum of Art
  2. 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
  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

Section 1, south wall

  1. Lady with the Lute, by Henry Wolf, 1909
    Lady with the LuteHenry Wolf, 1909Courtesy of the Smithsonian American Art Museum
  2. 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
  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, south wall

  1. 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
  2. The Fan Tree, by Ernest Haskell, ca. 1915
    The Fan TreeErnest Haskell, ca. 1915Courtesy 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, north wall

  1. A work made of lithograph on ivory wove paper.
    Paulus, from Le Café-ConcertHenri-Gabriel Ibels, 1893Courtesy of the Art Institute of Chicago
  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. 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 3, north wall

  1. 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
  2. Untitled, by Mildred McMillen, 1915
    UntitledMildred McMillen, 1915Courtesy of the Smithsonian American Art Museum

Section 3, south 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. 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