A dark interior view is shown with a deep recessed space. At the end of the space is a window; the recessed space is full of reflected light and a woman is seen framed against the bright view out the window. Closer to the viewer, the foreground is filled with domestic objects: furniture on hte left with vases stored on top; a wall rack with plates stored on the right and other objects with basins or pots below the plates.
Based on a watercolor, this etching employs sharp juxtapositions of light and dark to create a sense of mystery; this dramatic use of light recalls Dutch 17th century prints, which were very popular at the time and which Whistler admired. "The Kitchen" became one of the most popular and sought after plates from the "French Set."
This vase has an iridescent ochre and green glaze. The vessel has a narrow mouth high shoulder.
The first quarter of this century saw the rise of a number of art potteries in the United States, a facet of the international Arts and Crafts Movement. Founded in Detroit in 1907 by Mary Chase Stratton (employing her married name of Perry at a later date) and Horace James Calkins, the Pewabic Pottery concentrated on hand-built vessels whose shapes were largely derived from traditional Asian ceramics. Under Marry Chase Stratton’s artistic direction, these refined forms were combined with a rich variety of iridescent glazes that became the Pottery’s hallmark.
Most of the works in the Museum of Art’s Pewabic collection come from Margaret Watson Parker, a Detroit-area collector and associate of Charles Lang Freer. Mrs. Parker’s bequest to the University of Michigan included numerous Pewabic works selected personally for her by Mary Chase Stratton for their quality and beauty. Several additional pieces of Pewabic ware came to the University from the collection of H.O. Havemeyer.