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James Mcneill Whistler Noc-turne in Black and Gold:the Falling Rocket (mk43) oil painting


Noc-turne in Black and Gold:the Falling Rocket (mk43)
Painting ID::  25709
James Mcneill Whistler
Noc-turne in Black and Gold:the Falling Rocket (mk43)
c.1875 The Detroit Institute of Arts,Gift of Dexter M.Ferry,jr.

   
   
     

James Mcneill Whistler Noc-turne:Blue and Silver-Bognor (mk43) oil painting


Noc-turne:Blue and Silver-Bognor (mk43)
Painting ID::  25710
James Mcneill Whistler
Noc-turne:Blue and Silver-Bognor (mk43)
1871-1876 Free Gallery of Art,Smithsonian institution

   
   
     

James Mcneill Whistler Chelsea Shops (mk46) oil painting


Chelsea Shops (mk46)
Painting ID::  26047
James Mcneill Whistler
Chelsea Shops (mk46)
Watercolour 12.5x21cm Washington.D.C.

   
   
     

James Mcneill Whistler Portrait of Painter-s Mother oil painting


Portrait of Painter-s Mother
Painting ID::  38949
James Mcneill Whistler
Portrait of Painter-s Mother
mk142 1871 Oil on canvas 144.3x162.5cm Musee d-Orsay, Paris

   
   
     

James Mcneill Whistler At the Piano oil painting


At the Piano
Painting ID::  38974
James Mcneill Whistler
At the Piano
mk142 1858-59 Oil on canvas 67x91.6cm

   
   
     

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     James Mcneill Whistler
     American Painter and Printmaker, 1834-1903 James Abbott McNeill Whistler's deft brushwork and mighty ego made him one of London's best-known painters in the second half of the 1800s. Born in Massachusetts, Whistler spent most of his adult life in England and France, in an era when an American artist in Europe was something of a rarity. He specialized in landscapes and (especially later in his career) portraits; stylistically he is often linked with Claude Monet and August Renoir, though he was not exactly part of the Impressionist movement. His etchings also are highly regarded. Witty, cranky and a bit of a devil, Whistler was a regular gadabout in British society. He had a famous long-running feud with the playwright Oscar Wilde, each of them trying to outwit the other with cutting public remarks. Some critics of the era considered Whistler's work to be smudgy and too radical; after viewing Whistler's 1875 study of fireworks over the Thames, Nocturne in Black and Gold: the Falling Rocket, John Ruskin wrote: "I have seen, and heard, much of cockney impudence before now; but never expected to hear a coxcomb ask two hundred guineas for flinging a pot of paint in the public's face." Whistler successfully sued Ruskin for libel but was awarded only a farthing in damages,

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