Palaces in the Night: Whistler in Venice by Margaret F. Macdonald |
Classical Painting Atelier: A Contemporary Guide to Traditional Studio Practice by Juliette Aristides  (7)
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Editorial Reviews
Book Description
Planning only a brief stay in Venice in 1879, Whistler found himself enchanted by the city's beauty and remained for more than a year. This lovely book is the first to follow Whistler's progress throughout Venice as he produced fifty etchings, a few oils, and a remarkable group of one hundred pastels. Alongside each of his evocative portraits of the city are photographs of the actual site. Published for the Paul Mellon Centre for Studies in British Art.
From the Inside Flap
Planning a brief stay in Venice to create twelve commissioned etchings, Whistler became enchanted with the beauty of the city in 1879 and remained there for more than a year. He worked in all areas of the city, producing about fifty etchings, a few oils, and, most remarkably, one hundred pastels. This beautifully illustrated book is the first to follow Whistler's progress through Venice as he made his powerful and evocative portraits of the city. Alongside each of Whistler's etchings, pastels, and oils are photographs of the actual sites where he made them. Alastair Grieve's detailed comparisons of Whistler's works and their corresponding sites reveal much about the artist's methods and techniques, about the changing fabric of the city, and about Whistler's genius as a topographical artist. Grieve also compares Whistler's approach with that of other artists and photographers working in Venice at the same time.Whistler arrived in Venice bankrupt in the wake of a sensational libel trial against John Ruskin in London. Venice proved both restorative and transforming for Whistler-it released a flood of creativity that enabled him to reestablish his finances, his reputation, and to a degree his personal life. His representations of well-known landmarks, including the church of Santa Maria della Salute and the Rialto Bridge, as well as many minor courts, alleys, and back canals, established a new and original iconography of the city. Upon his return to London, Whistler exhibited his Venice works and gradually reassumed a leading place in the Victorian art avant-garde.
See all Editorial Reviews
Planning only a brief stay in Venice in 1879, Whistler found himself enchanted by the city's beauty and remained for more than a year. This lovely book is the first to follow Whistler's progress throughout Venice as he produced fifty etchings, a few oils, and a remarkable group of one hundred pastels. Alongside each of his evocative portraits of the city are photographs of the actual site. Published for the Paul Mellon Centre for Studies in British Art.
From the Inside Flap
Planning a brief stay in Venice to create twelve commissioned etchings, Whistler became enchanted with the beauty of the city in 1879 and remained there for more than a year. He worked in all areas of the city, producing about fifty etchings, a few oils, and, most remarkably, one hundred pastels. This beautifully illustrated book is the first to follow Whistler's progress through Venice as he made his powerful and evocative portraits of the city. Alongside each of Whistler's etchings, pastels, and oils are photographs of the actual sites where he made them. Alastair Grieve's detailed comparisons of Whistler's works and their corresponding sites reveal much about the artist's methods and techniques, about the changing fabric of the city, and about Whistler's genius as a topographical artist. Grieve also compares Whistler's approach with that of other artists and photographers working in Venice at the same time.Whistler arrived in Venice bankrupt in the wake of a sensational libel trial against John Ruskin in London. Venice proved both restorative and transforming for Whistler-it released a flood of creativity that enabled him to reestablish his finances, his reputation, and to a degree his personal life. His representations of well-known landmarks, including the church of Santa Maria della Salute and the Rialto Bridge, as well as many minor courts, alleys, and back canals, established a new and original iconography of the city. Upon his return to London, Whistler exhibited his Venice works and gradually reassumed a leading place in the Victorian art avant-garde.
See all Editorial Reviews
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- The Rough Guide to Venice & the Veneto 5 (Rough Guide Travel Guides) by Jonathan Buckley on page 20