Floor plan

Style galleriesThe Etching Revival

The Etching Revival

A work made of transfer lithograph in black on gray china paper.
The Fan Tree, by Ernest Haskell, ca. 1915
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.
The image shows a landscape with a valley leading towards two mountain peaks known as the Peaks of Otter. The horizon is low, with the mountains dominating the scene. The brushwork is smooth and delicate, and the color palette consists of muted earth tones, greens, and soft blues. In the foreground, there are cattle grazing in a field with a wooden fence, and a couple of houses among trees to the left. Further back, there are open fields with horses and agricultural activities, leading to a dense tree line at the base of the mountains.
Cornwall, by Kerr Eby, 1927
The Stranger, by Albert Sterner, 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. A work made of transfer lithograph in black on gray china paper.
    Under the Lamp ("Once upon a midnight dreary..."), from The Raven (Le Corbeau)Édouard Manet, 1875Courtesy 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. 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. The image shows a landscape with a valley leading towards two mountain peaks known as the Peaks of Otter. The horizon is low, with the mountains dominating the scene. The brushwork is smooth and delicate, and the color palette consists of muted earth tones, greens, and soft blues. In the foreground, there are cattle grazing in a field with a wooden fence, and a couple of houses among trees to the left. Further back, there are open fields with horses and agricultural activities, leading to a dense tree line at the base of the mountains.
    View of the Peaks of OtterWoldemar Rau, 1858Courtesy National Gallery of Art, Washington
  2. Cornwall, by Kerr Eby, 1927
    CornwallKerr Eby, 1927Courtesy of the Smithsonian American Art Museum
  3. The Stranger, by Albert Sterner, 1916
    The StrangerAlbert Sterner, 1916Courtesy of the Smithsonian American Art Museum

Section 2, south wall

  1. A work made of lithograph in black ink, with additions in brush and red, blue, yellow, green, orange-brown and gray watercolor on ivory wove paper.
    TingletangleEdvard Munch, 1895Courtesy 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

Section 2, 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. The Cathedral, by James Ensor, 1886
    The CathedralJames Ensor, 1886Courtesy 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

Section 3, north wall

  1. The Creation, by Kálmán Kubinyi, before 1927
    The CreationKálmán Kubinyi, before 1927Courtesy of the Cleveland Museum of Art
  2. 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
  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 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. 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