The bottom half of this print's composition shows a rocky outcropping, with a triangular shadow in the center right. On the bottom left is some foliage. The top half of the composition shows three trees in the center right. The left-most tree is darker than the other two. The trees are set against a flat background.
This scene of two nude women depicts one woman in the center of scene on a circular rug, leaning against a couch or bed where the other woman lays. The center woman is shown with her torso straight on towards the viewer, her knees bent and pointing to the left, and her head tilted down and to the right. The woman laying down is shown with her head closest to the viewer, so we can only see the top of her head, her shoulders, her chest, and her hip. The background is mostly shadow, with small bits of light showing through some drapes.
This monotype depicts the back of a nude woman. She is sitting down, and we can see her arms, part of her left leg and part of the left side of her face. The woman casts some dark shadows on the left and under her right arm.
This forest scene has three trees in the middle of the composition; a straight narrow tree lies in the middle, with a tree next to it leaning diagonally to the right, and a smaller tree in the background to the left. On either side of the composition are more trees. Behind the middle trees we can see the forest open up with a lighter space. The bottom third of the composition shows the forest floor, a faint path, and shadows cast by the trees.
This ocean scene shows a cliff on the left half of the composition, with the ocean and some birds on the right. The cliff is darker towards the bottom, and the strip of ocean is in the bottom third of the composition. There are five birds; three are more distinct, while the other two a smaller and fainter.
Two figures in the foreground stand with their backs to the viewer, looking toward buildings in the middleground. The buildings are built in the pueblo style, with some arched windows and beams jutting out from the roof. A ladder leans against a building in the far left of the composition. The scene is heavily shadowed, by both the buildings and the figures.
Hoerman devoted most of his time to landscapes, particularly focusing on western settings and desert scenes. This print depicts the ancient stone pueblo village of Walpi in northern Arizona.
An old woman in a white cap sits in a cluttered interior. Positioned just inside the doorway, the woman is surrounded by piles of cloth with domestic objects on shelves and walls that gleam in the darkness.
The images of Whistler's French Set reflect the artistic trends current in Paris when Whistler was a student there. "La Vieille aux Loques", with its concern for working class figures, demonstrates Whistler's early orientation towards the work of Courbet. Throughout his career, Whistler mantained an interest in depicting working class and humble subjects; however, the beauty of his depictions elevated such works beyond the gritty realism of early works such as this etching.
This is a nighttime view of a city on water. Along the horizon can be seen numerous buildings and ships. At center left is a three-masted ship at anchor; along the right side are buildings, incuding domes and a tall tower. Throughout the image, there is an importance given to reflections and the nocturnal setting.
Whistler frequently employed plate tone to evoke the rich humidity of Venice's climate. This image showing a large ship at anchor in the mouth of the Grand Canal conveys the palpable atmosphere of nighttime in Venice.
Prior to Whistler's adoption of "artistic wiping" of the plates, such use of plate tone would have been the mark of someone not proficient in printing techniques. Whistler varied the inking of this plate, in particular, such that impressions are essentially monoprints. However, use of plate tone became more broadly embraced and the Venice prints became among the most sought after of his etchings.
A large ornate waterdoor faces onto a canal. On the threshold near the water, a woman bends down towards the surface of the canal. Behind the doorway stands another figure in the shadows and beyond is another opening to a small square or open-air workspace. The Doorway consists of a large lunette shaped transom light over the door and the portal is flanked on either side by large arched windows. The glazing is all fitted into a fine network of mullions in either square on diamond patterns. The door and windows are each framed by carved pilasters and engaged corinthian capitals. Below the windows are bands of rosettes and other carved ornaments that extends to the water level.
Whistler discovered "a Venice within Venice" that had never captured the attention of earlier artists. Rather than focus on Venice's grand public spaces, he worked along the back canals, in both pastel and in etching, finding topics of local color and rich detail. This doorway belonged to a chair repair shop. In the first state--and again in the last state--the woman's stooping gesture is given significance by the cloth in her hand; she is washing out dye in the canal. In this state the fabric has not been redrawn yet.
A street facing onto a canal is seen at a very slight angle. The three buildings each have balconies (some enclosed), banks of windows, and doors at the water's edge. A dense network of hatching lines describe the brick facades, balconies and windows, and reflecions.
According to the Glasgow catalogue raisonné, "This is a view of the Oudeszijdskolk, in the city of Amsterdam, capital of the Netherlands. It shows the back of the buildings on Sint Olofsteeg, in the city's red-light district."
A man stands in an apron and rolled sleeves in the water door of a building along a canal. Another figure is seen kneeling and reaching down to the water at the left edge of the water door. The building and its reflection fills the frame; the emphasis is on the figures in the darkened opening, along with their reflections, while the upper story of the building is only summarily indicated.
According to the Glasgow catalogue raisonné, along with a general revival of interest in the rococo, and thus with Pierrot, one of the principal figures of the commedia dell'arte. The Symbolists were also fascinated with the enigmatic figure of Pierrot and Whistler's friendship with Stéphane Mallarmé may also be related to Whistler's choice of this figure for the title of this print.
This work and "Balcony, Amsterdam" were done on the Oudezijds Achterburgwal, then known as Rottenest. The store front is part of the back of Zeedijk no. 52.
Eight distinct trees are shown in the foreground, with a house visible through the trees in the background. The trees are tall and skinny, with tufts of leaves in regular intervals up their trunks. Two trees on the left are thicker and darker. One tree sweeps diagonally across the composition. Two trees on the right of the page cross in the middle of their trunks.
This print depicts the town of Montrichard in France.
This watercolor on Japan paper, mounted on board, is vertically oriented. The piece is very dark, with the forms barely visible and very abstract. The upper quarter of the piece is blue, white, and pink (presumably a morning sky). In the next quarter down is what appears to be a body of water reflecting the sky, which a city and hills on the fall side of the shore from the viewer. The lower half the work has abstract figures in brown and cream that appear to be on the shore. Compositionally, there is a zig-zag recession into space. The piece is surrounded by the white border of the board that it is mounted on.
This work was painted at the end of Whistler’s life (he died in 1903). The artist was in poor health when he spent the winter of 1900-01 in Algiers and Ajaccio, Corsica. He painted, etched, and filled many notebooks with drawings, including over 1700 watercolors in his lifetime. He painted thinly, leaving areas blank to suggest light or texture. He outlined a subject in pencil or brush, and then added washes quickly with small brushes, altering, but rarely rubbing out.
This watercolor on brown prepared board is vertically oriented. The piece
is reputedly a view of a Parisian street (perhaps in the 8th arrondissement), and the perspective is as if the viewer is on the fourth floor of an adjacent
building. The upper two-thirds of the piece show a building-lined street,
curving gently to the left. The buildings are about six stories tall, and
additional rooftops are barely visible in the distance. On the ground
floor of the buildings, there are traces of people, shops, and cafés. In
the bottom third of the work, the road dissolves, but forms suggesting a
few people populate the space.
This work was painted around the time Whistler turned 50. The artist had just lived in Venice for a year (1879-80) and was now living in London. Rue Laffitte is in the 8th arrondissement of Paris, between the Boulevard des Italiens and the Rue de Provence. Whistler created over 1700 watercolors in his lifetime. He painted thinly, leaving areas blank to suggest light or texture. He outlined a subject in pencil or brush, and then added washes quickly with small brushes, altering, but rarely rubbing out.
This print is constructed of five horizontal bands of color with a semicircular shape at the top center. The bottom-most band depicts tightly clustered organic shapes with dark borders. The next band has a short, thick, curving line in the center, and a couple other dark organic lines above it. The third and middle band has some hatching and some circular shapes. The fourth band, or the second band from the top, is made up of horizontal lines, with many hatched vertical lines over top of them, reminiscent of grass. The top most band depicts a cellular-like structure, consisting of a diamond pattern. The semicircular shape at the top cuts through the top band, and juts partially into the band underneath it. The semicircle has an organic, circular line formation in the center.
According to the National Collection of Fine Arts' exhibition catalog Gabor Peterdi: Forty-five Years of Printmaking, Peterdi's work consistently reflects themes of man, nature, and their interrelationships. Additionally, his work his highly influenced by his travels to Mexico, South America, Hawaii, and Alaska. These themes and experiences work together to create sensitive images designed to evoke a sense of continuity and a reaffirmation of life.
Abstracted, organic shapes in black and gray tones flow through the top three-fourths of the composition. Some small, thumbnail like lines are embedded into the shapes in the center right. A small reddish-colored shape is in the middle of the composition.