Search results for ""Author Patricia De Montfort""

This innovative and compelling study reconsiders Whistler’s work from the context of his military service and his relationship with ‘nature at the margins’. Whistler came from a family of soldiers and engineers; his father, Major George Washington Whistler, was originally a US military engineer. Drawing and mapmaking were important components of the military training that Whistler acquired as an offi cer cadet at West Point Academy in 1851-4 and subsequently in the Drawing Department at the US Coast and Geodetic Survey,where he attempted to realise his father’s hopes that he would make engineering or architecture his profession. These infl uences in turn shaped Whistler’s attitude towards nature, as expressed in works ranging from his celebrated London ‘Nocturnes’ to his French coastal scenes – all of which were created after Whistler moved permanently to Europe in 1855.Whistler’s close observation of nature and its moods underpinned his powerful and haunting visions of nineteenth-century life. His images explore the contrasts between the natural and man-made worlds: rivers and wharves, gardens and courtyards, the ideal and the naturalistic. And his singular vison was always defi ned by his enduring affi nity with the makers of railways, bridges and ships, the cornerstones of Victorian wealth and trade. Infl uenced by Rembrandt, Whistler’s early etchings of London are notable for their focus on line and topographical accuracy. From the 1860s, his enthusiasm for Japanese art, too, infl uenced his attitude to perspective and spatial relations between objects. This led him, in his London Nocturnes, to reduce the external world before him to its bare bones. Whistler’s smoky images of warehouses, bridges, harbours and tall ships were designed to showcase a new kind of productive, wealth-generating landscape. It is a view of nature constrained by man-made structures: the shadowy outline of the warehouses and chimneys on the far shore; the mast and rigging of a Thames barge in the middle distance.This absorbing book reassesses a familiar and notoriously colourful artistic fi gure in a fascinating and pertinent new light, and is an important new contribution to our understanding of the Victorian art world and its physical context.

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A fascinating look at the partnership of artist James McNeill Whistler and his chief model, Joanna Hiffernan, and the iconic works of art resulting from their life together“[A] lavish volume. . . . Illuminating. . . . MacDonald’s deep research has . . . unearthed important new facts.”—Gioia Diliberto, Wall Street Journal In 1860 James McNeill Whistler (1834–1903) and Joanna Hiffernan (1839–1886) met and began a significant professional and personal relationship. Hiffernan posed as a model for many of Whistler’s works, including his controversial Symphony in White paintings, a trilogy that fascinated and challenged viewers with its complex associations with sex and morality, class and fashion, academic and realist art, Victorian popular fiction, aestheticism and spiritualism. This luxuriously illustrated volume provides the first comprehensive account of Hiffernan’s partnership with Whistler throughout the 1860s and 1870s—a period when Whistler was forging a reputation as one of the most innovative and influential artists of his generation. A series of essays discusses how Hiffernan and Whistler overturned artistic conventions and sheds light on their interactions with contemporaries, including Gustave Courbet, for whom she also modeled. Packed with new insights into the creation, marketing, and cultural context of Whistler’s iconic works, this study also traces their resonance for his fellow artists, including Dante Gabriel Rossetti, Edgar Degas, John Singer Sargent, and Gustav Klimt. Published in association with the National Gallery of Art, WashingtonExhibition Schedule:Royal Academy of Arts, London (February 23–May 23, 2022)National Gallery of Art, Washington (July 3–October 10, 2022)

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