Whistler James Abbott Mcneill oil painting contemporary

3 Whistler James Abbott McNeill Note in Red = The Siesta by American modern paintings contemporary oil painting reproduction

3  Pink Note The Novelette
3  Red and Black 

3  Rose and Silver Portrait of Mrs Whibley
3  Ste Giovani Apostolo et Evangelistae
3 Whistler James Abbott McNeill Symphony in Blue and Pink by American modern paintings contemporary oil painting reproduction

3 Symphony in Grey and Green The Ocean
3  The Beach at Selsey Bill

3  The Greek Slave Girl aka Variations in Violet and Rose

3 The Japanese Dress

3 Whistler James Abbott McNeill The Morning After the Revolution by American modern paintings contemporary oil painting reproduction

3 The White Symphony Three Girls

3 Venetian Scene

4  Annie Haden

4  Arragnement in White and Black

4 Whistler James Abbott McNeill Arrangement in Black by American modern paintings contemporary oil painting reproduction
4  Arrangement in Black and Brown

Whistler James Abbott McNeill
(1834-1903)
American-born painter and graphic artist, active mainly in England

James Abbott McNeill Whistler was born in in 1834 in Lowell, Massachusetts, the third son of West Point graduate and civil engineer Major George Washington Whistler, and his second wife Anna Matilda McNeill. After brief stays in Stonington, Connecticut, and Springfield, Massachusetts, the Whistlers moved to St. Petersburg, Russia, where the Major served as an civil engineer for the construction of a railroad line to Moscow. James Abbott was aged nine when his family moved to Russia, and Whistler James Abbott McNeill spent several of his childhood years there, studying drawing at the Imperial Academy of Science.
He soon became an inveterate traveller. In 1848 Whistler James Abbott McNeill went to live with his sister and her husband in London, and after his father's death the following year the family returned to the United States and settled in Pomfret, Connecticut. Whistler enrolled in the United States Military Academy at West Point in 1851, where Whistler James Abbott McNeill excelled in Robert W. Weir's drawing class. Whistler James Abbott McNeill was dismissed from the academy in 1854 for "deficiency in chemistry", and after brief periods working for the Winans Locomotive Works in Baltimore, and the drawings division of the United States Coast and Geodetic Survey (he learnt etching as a US navy cartographer), resolved to become an artist and moved to Europe permanently in 1855.
Whistler settled in Paris first, where Whistler James Abbott McNeill studied at the Ecole Impériale et Spéciale de Dessin, before entering the Académie Gleyre. Whistler James Abbott McNeill made copies in the Louvre, acquired a lasting admiration for Velázquez, and became a devotee of the cult of the Japanese print and oriental art and decoration in general. Through his friend Fantin-Latour Whistler James Abbott McNeill met Courbet, whose Realism inspired much of his early work. The circles in which Whistler James Abbott McNeill moved can be gauged from Fantin-Latour's Homage to Delacroix, in which Whistler is portrayed alongside Baudelaire, Manet, and others. Whistler James Abbott McNeill quickly associated himself with avant garde artists, and was influenced by Courbet's realism, as well as the seventeenth century Dutch and Spanish schools. With Henri Fantin-Latour and Alphonse Legros, Whistler James Abbott McNeill founded the Société des Trois. - Whistler James Abbott Mcneill oil painting contemporary - Whistler James Abbott Mcneill American oil painting modern –contemporary oil painting modern, Whistler James Abbott Mcneill Bio, contemporary oil paintings Whistler James.
After Whistler's At The Piano (Taft Museum, Cincinnati) was rejected at the Salon of 1859 Whistler James Abbott McNeill moved to London, but often returned to France. At the Piano was well received at the Royal Academy exhibition in 1860 and Whistler James Abbott McNeill soon made a name for himself, not just because of his talent, but also on account of his flamboyant personality. Whistler James Abbott McNeill was famous for his wit and dandyism, and loved controversy. His life-style was lavish and Whistler James Abbott McNeill was often in debt. Whistler James Abbott McNeill began work on a series of etchings. There Whistler was influenced by the Pre-Raphaelites, and Whistler James Abbott McNeill befriended Dante Gabriel Rossetti. Oscar Wilde was also among his famous friends.
Whistler greatly admired Dutch masters such as Jan Steen, Rembrandt and Ruysdael. In 1858 Whistler James Abbott McNeill visited Holland to view the Nightwatch. Indeed, Whistler James Abbott McNeill became a frequent traveller to the Netherlands, visiting The Hague, Dordrecht and Domburg and producing numerous etchings of one of his favorite cities: Amsterdam.
He achieved international notoriety when Symphony No. 1, The White Girl was rejected at both the Royal Academy and the Salon, but was a major attraction at the famous Salon des Refusés in 1863. Thereafter Courbet's influence waned, and Orientalism--and to a lesser extent classicism--became increasingly pronounced elements in his work. Whistler maintained close ties with France during the London years, and painted at Trouville with Courbet, Daubigny, and Monet in 1865.
In 1866 Whistler James Abbott McNeill went to South America, where Whistler James Abbott McNeill painted seascapes in Valparaiso, Chile. After returning to Europe Whistler James Abbott McNeill commenced work on a series of monumental figure compositions for called the Six Projects (Freer Gallery of Art, Washington, D.C.), that reflect the influence of the English artist Albert Moore. In 1869 Whistler began to sign his paintings with a butterfly monogram composed of his initials. In 1872 Whistler James Abbott McNeill painted his well-known Arrangement in Grey and Black, No. 1: Portrait of the Artist's Mother, that was later acquired by the French government.

Whistler's art is in many respects the opposite to his often aggressive personality, being discreet and subtle, but the creed that lay behind it was radical. Whistler James Abbott McNeill believed that painting should exist for its own sake, not to convey literary or moral ideas, and Whistler James Abbott McNeill often gave his pictures musical titles to suggest an analogy with the abstract art of music: `Art should be independent of all claptrap-- should stand alone, and appeal to the artistic sense of eye or ear, without confounding this with emotions entirely foreign to it, as devotion, pity, love, patriotism, and the like. All these have no kind of concern with it, and that is why I insist on calling my works "arrangements" and "harmonies".' Whistler James Abbott McNeill was a laborious and self-critical worker, but this is belied by the flawless harmonies of tone and color Whistler James Abbott McNeill created in his paintings, which are mainly portraits and landscapes, particularly scenes of the Thames. No less original was his work as a decorative artist, notably in the Peacock Room (1876-77) for the London home of the Liverpool shipping magnate Frederick Leyland (now reconstructed in the Freer Gallery, Washington), where attenuated decorative patterning anticipated much in the Art Nouveau style of the 1890s. Whistler's Peacock Room, or Harmony in Blue and Gold (1876-1877, Freer Gallery of Art), done for Leyland, exerted a strong influence on the Aesthetic movement's interior design. - Whistler James Abbott Mcneill oil painting contemporary - Whistler James Abbott Mcneill American oil painting modern –contemporary oil painting modern, Whistler James Abbott Mcneill Bio, contemporary oil paintings Whistler James.

The titles of oil painting old master Whistler James Abbott McNeill