Out of Whistler's Window: The Etched Work of James MacNeill Whistler and Sir Francis Seymour Haden
Louise and Bernard Palitz Gallery
May 8 - June 28, 2006
Call Lubin House for Gallery availability

Out of Whistler's Window examines the etchings and drypoints made between 1855 and 1865 by James MacNeill Whistler and Sir Francis Seymour Haden. In doing so, the exhibition reconnects two of the late 19th century's most important printmakers. James MacNeill Whistler, an aesthetic dandy in the European art scene, was regarded as one of the most important printmakers since Rembrandt. An example of his graphic skill was his 1861 portfolio of etchings of the Thames River that were made as a response to Charles Baudelaire's call to artists to create "landscapes of the great cities." The prints were particularly well received by Britain's critical press for their insightful delineation of the warehouses in London's central Wapping district. An earlier portfolio, Twelve Etchings after Nature, was released in 1858 and included subjects he found on an excursion though France, Germany and Amsterdam.

Whistler was related by marriage to Francis Seymour Haden, an eminent British surgeon and amateur artist. He had a significant print collection including a number of works by Rembrandt. Whistler immersed himself in Haden's collection and gained a lifelong respect and admiration for Rembrandt's skill with the etching needle. Whistler's printmaking efforts served to reignite Haden's printmaking activities. Earlier landscape etchings of the Italian countryside in 1843 had developed Haden's belief that drawing improved a doctor's observational skills that directly improved the diagnoses of illnesses. His new designs were very traditional in their spatial organization and his subjects favored pastoral landscapes, often of the Thames seen winding through the countryside outside of London. In this sense both Whistler and Haden were influenced by Rembrandt but in strikingly different manners. Whistler was affected most by Rembrandt's formal interests in portraying light and shadow while Haden was inspired to choose similar landscape subjects.

Haden's prints became quite popular and established his reputation in England and on the continent. During this period Whistler was less involved in printmaking because he was engaged by a patron for whom he painted family portraits and acted as an advisor in building the patron's private art collection. Whistler was aware of Haden's success and grew increasingly disturbed about it. Whistler regarded his brother-in-law as an amateur when compared to his own talent and Whistler's acerbic personality caused the eventual deterioration of their relationship.

Both artists had a significant impact on Britain's Etching Revival. Haden's career was highlighted by his founding in 1881of the Society of Painter-Etchers. The Society included nearly every major printmaker in England except Whistler and received a Royal Charter in 1888. For his efforts as President of the Society Haden was knighted in 1891. Whistler had a more checkered career as his paintings were rarely appreciated and his prints had varying amounts of success. Towards the end of his life Whistler's etchings and drypoints began to gain popular and critical appeal. In 1898 the Wunderlich Gallery in New York held a major print exhibition of more than 300 of Whistler's prints. Whistler died in his studio in 1903 and church services were held in the Old Chelsea Church whose tower is included in several Whistler prints including Chelsea Bridge and Church.