WHISTLER, JAMES ABBOTT McNEILL (1834-1903), American artist, was born at Lowell, Massachusetts, on the 11th of July 1834. His father was Major G. W. Whistler, and his mother one of the Baltimore family of Winans. He was first heard of in Europe in 1857, when he had already been an art student, in Paris, in the studio of Gleyre. His first etchings, those known as The French Set, were the means of bringing him under the notice of certain people interested in art, but the circulation of these first, like that of his later etchings, has always, of necessity, been more limited than their fame. The impressions from each plate are generally few. It was still in etching that Whistler continued his labours, and, coming to London in 1850, it appears, he almost at once addressed himself to the chronicle of the quaint riverside buildings and the craft of the great stream — the Thames "below Bridge." The French Set had included De Hooch - like or Nicholas Maes - like genre pieces, such as La Vieille aux loques, the Marchande de moutarde, and The Kitchen, this last incomparably improved and perfected by the retouching that was accomplished a quarter of a century after the first performance. The Thames series of sixteen etchings, wrought chiefly in 1859, disclosed a new vision of the river, in which there was expressed, with perfect draughtsmanship, with a hitherto unparalleled command of vivacious line, the form of barge and clipper, of warehouse, wharf and waterside tavern. The Pool, Thames Police and Black Lion Wharf are perhaps the finest of this series. Before it was begun, Whistler, ere he left Paris, had proceeded far with a plate, existing only in the state of trial proof, and, in that, of extreme rarity. It is called Paris, lie de la Cite, and has distinct and curious manifestations of a style to be more generally adopted at a later period.
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WHISTLER, JAMES ABBOTT McNEILL (1834-1903), American artist, was born at Lowell, Massachusetts, on the 11th of July 1834. His father was Major G. W. Whistler, and his mother one of the Baltimore family of Winans. He was first heard of in Europe in 1857, when he had already been an art student, in Paris, in the studio of Gleyre. His first etchings, those known as The French Set, were the means of bringing him under the notice of certain people interested in art, but the circulation of these first, like that of his later etchings, has always, of necessity, been more limited than their fame. The impressions from each plate are generally few. It was still in etching that Whistler continued his labours, and, coming to London in 1850, it appears, he almost at once addressed himself to the chronicle of the quaint riverside buildings and the craft of the great stream — the Thames "below Bridge." The French Set had included De Hooch - like or Nicholas Maes - like genre pieces, such as La Vieille aux loques, the Marchande de moutarde, and The Kitchen, this last incomparably improved and perfected by the retouching that was accomplished a quarter of a century after the first performance. The Thames series of sixteen etchings, wrought chiefly in 1859, disclosed a new vision of the river, in which there was expressed, with perfect draughtsmanship, with a hitherto unparalleled command of vivacious line, the form of barge and clipper, of warehouse, wharf and waterside tavern. The Pool, Thames Police and Black Lion Wharf are perhaps the finest of this series. Before it was begun, Whistler, ere he left Paris, had proceeded far with a plate, existing only in the state of trial proof, and, in that, of extreme rarity. It is called Paris, lie de la Cite, and has distinct and curious manifestations of a style to be more generally adopted at a later period.