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The Etching Revival

Artists who took up the etching needle again, from Whistler to the Paris printmakers.

50 works · hang 9518 ·

The rooms are imagined; every work on their walls is real.

Walk this roomRehang this room

Section 1, north wall

  1. A work made of transfer lithograph in black on gray china paper.
    At the window ("Open here I flung the shutter..."), from The Raven (Le Corbeau)Édouard Manet, 1875Courtesy of the Art Institute of Chicago
  2. The image depicts a landscape seen from a slightly elevated perspective, with a tranquil scene. The horizon is high in the composition, showing a vast view. There are a few distant trees and silhouettes blending into the sky. The brushstrokes are expressive and fluid, with a sketch-like quality depicting texture and movement in the trees and ground. The color palette is primarily monochrome, using shades of black and grey. Near the viewer, there are low plants and shrubs on sandy ground, leading to a small body of water reflecting dense trees. In the distance, the landscape becomes more open and sparse towards the horizon.
    Cape Ann WillowsCharles A. Platt, 1887Courtesy National Gallery of Art, Washington
  3. The image shows a street scene from a close perspective down a narrow alleyway. The horizon is not visible, with buildings on both sides. The style features detailed etching with fine lines and shading for depth and texture. The color palette is monochromatic with black, gray, and off-white tones. The houses have worn facades, and there is a distant figure. The sky is dark and overcast, enhancing the shadow-filled scene.
    Street in SaverneJames McNeill Whistler, 1858Courtesy National Gallery of Art, Washington

Section 1, south wall

  1. A work made of lithograph in dark green on cream wove paper.
    Mévisto, from Le Café-ConcertHenri-Gabriel Ibels, 1893Courtesy of the Art Institute of Chicago
  2. A work made of lithograph on ivory wove paper.
    Paulus, from Le Café-ConcertHenri-Gabriel Ibels, 1893Courtesy of the Art Institute of Chicago
  3. A work made of drypoint with light plate tone on thin ivory japanese paper.
    Whistler with a HatJames McNeill Whistler, 1859Courtesy of the Art Institute of Chicago

Section 2, south wall

  1. The image features a large building with a domed tower on the right side. The horizon shows hills, trees, and the sky. The brushstrokes give detailed texture to the scene, with a focus on the landscape and architecture. The color palette is sepia-toned. A tree, fence, smaller buildings, and a figure on a path add depth and perspective to the scene.
    Mission Santa Barbara, Looking SouthHenry Chapman Ford, 1888Courtesy National Gallery of Art, Washington
  2. A work made of etching and drypoint in brown on cream laid paper.
    Nocturne, from Venice, a Series of Twelve Etchings (the "First Venice Set")James McNeill Whistler, 1879–80Courtesy of the Art Institute of Chicago
  3. The Petit Pont, by Charles Meryon, 1850
    The Petit PontCharles Meryon, 1850Courtesy of the Cleveland Museum of Art

Section 2, north wall

  1. Lady with the Lute, by Henry Wolf, 1909
    Lady with the LuteHenry Wolf, 1909Courtesy of the Smithsonian American Art Museum
  2. The image depicts a landscape with towering rock formations dominating the scene. The ground is rugged and textured, leading the eye towards the rock pillars in the center. A structure or building is perched atop one of these rocks. The background shows the horizon above the structure, with clouds and sky stretching out beyond. The artwork features detailed brushstrokes adding texture to the rocks. The color palette is monochromatic with varying shades of charcoal or ink, emphasizing the contrast between the rocks and the sky.
    The Cliffs of the TrinityJoseph Pennell, 1913Courtesy National Gallery of Art, Washington
  3. Cornwall, by Kerr Eby, 1927
    CornwallKerr Eby, 1927Courtesy of the Smithsonian American Art Museum

Section 3, north wall

  1. In proof of true love, a watercarrier skeleton arguing with a woman (Posada); two skeleton angels in upper corners (Manilla), by José Guadalupe Posada, ca. 1890–96
    In proof of true love, a watercarrier skeleton arguing with a woman (Posada); two skeleton angels in upper corners (Manilla)José Guadalupe Posada, ca. 1890–96Courtesy of The Metropolitan Museum of Art
  2. A work made of transfer lithograph in black on gray china paper.
    Under the Lamp ("Once upon a midnight dreary..."), from The Raven (Le Corbeau)Édouard Manet, 1875Courtesy of the Art Institute of Chicago

Section 3, south wall

  1. Our Army before Yorktown, Virginia, from Harper's Weekly, May 3, 1862, by Winslow Homer, 1862
    Our Army before Yorktown, Virginia, from Harper's Weekly, May 3, 1862Winslow Homer, 1862Courtesy of the Smithsonian American Art Museum
  2. Evening, Melancholy I, by Edvard Munch, 1896
    Evening, Melancholy IEdvard Munch, 1896Courtesy of the Cleveland Museum of Art