James Abbott McNeill Whistler
(1834-1903), Painter and etcherLater Victorian Portraits Catalogue Entry
Sitter in 15 portraits
Artist associated with 4 portraits
Born in America, Whistler originally trained to be a soldier at West Point, before studying painting in Paris and moving to London around 1860, where he remained. An advocate of the aesthetic ideal of 'Art for Art's Sake', and all-round provocative figure of the London art world, his nocturnes (which he described as ‘arrangement[s] of line, form and colour first’ and were famously criticised by John Ruskin for representing the equivalent of 'flinging a pot of paint in the public's face') and decorative subjects made him a progressive and controversial figure.
by Walter Greaves
oil on canvas
NPG 4497
by Sir Leslie Ward
watercolour, chalk, and pen and ink, 1877-1879
NPG 1700a
by Sir Leslie Ward
gouache with watercolour, 1878
NPG 1700
by Harry Furniss
pen and ink, 1880s-1900s
NPG 3617
by Harry Furniss
pen and ink, 1880s-1900s
NPG 3618
by Unknown photographer
platinum print, Summer 1885
NPG P356
by Bernard Partridge
watercolour, late 1880s
NPG 3541
by Sir Robert Ponsonby Staples, Bt
chalk, 1901
NPG 2188
by London Stereoscopic & Photographic Company
albumen print on card mount, 1870s
NPG x12544
after William Brassey Hole, after James Abbott McNeill Whistler
reproduction of etching, late 19th century (circa 1872)
NPG D1400
by Percy Thomas, after James Abbott McNeill Whistler
etching, 1874
NPG D4997
James Abbott McNeill Whistler ('Men of the Day. No. 170.')
by Sir Leslie Ward
chromolithograph, published in Vanity Fair 12 January 1878
NPG D43831
after William Nicholson
lithograph after a woodcut, 1897
NPG D2895
after William Nicholson
lithograph after a woodcut, 1897
NPG D7816
published by William Heinemann, after William Nicholson
lithographic reproduction of a hand-coloured woodcut, published 1899 (1897)
NPG D32970
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