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The Etching Revival

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

50 works · hang 8985 ·

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

Walk this roomRehang this room

Section 1, north 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. The image depicts a landscape with a river flowing through it. In the foreground, there is a small boat on the water, and in the background, sailboats are docked near a strip of land. Tall trees with sparse foliage are on the right side, with a structure nestled among them near the water. The horizon is slightly above the center of the image, with a calm sky above it. The brushstrokes vary in texture, with fine strokes for the sky and water and more detailed strokes for the trees. The color palette is muted, with sepia and gray tones creating a peaceful atmosphere. Birds are scattered in the sky.
    Shrewsbury RiverJohn Hill Millspaugh, 1887Courtesy National Gallery of Art, Washington

Section 1, south wall

  1. Evening, Melancholy I, by Edvard Munch, 1896
    Evening, Melancholy IEdvard Munch, 1896Courtesy of the Cleveland Museum of Art
  2. The Stranger, by Albert Sterner, 1916
    The StrangerAlbert Sterner, 1916Courtesy of the Smithsonian American Art Museum
  3. The Petit Pont, by Charles Meryon, 1850
    The Petit PontCharles Meryon, 1850Courtesy of the Cleveland Museum of Art

Section 2, south wall

  1. 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
  2. Lady with the Lute, by Henry Wolf, 1909
    Lady with the LuteHenry Wolf, 1909Courtesy 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, 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: Palaces, by James McNeill Whistler, 1879–80
    Nocturne: PalacesJames McNeill Whistler, 1879–80Courtesy of The Metropolitan 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 3, north wall

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

Section 3, south wall

  1. 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
  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