Freer Gallery of Art and Arthur M. Sackler Gallery Search

drawing

A Bridge

A Bridge follows the canons of eighteenth-century picturesque landscape imagery. The drawing has an academic quality which sets it apart from other sketches executed during Whistler's Rhineland tour, and the actual site has thus far eluded identification. The scene recalls a heavy stone bridge at Mayence, and similar bridges at Bingen and Coblentz were painted by Turner earlier in the century. Whi

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drawing

A Group of Figures around a Brazier

In an unidentified street scene drawn from life, Whistler applied his pencil in broad, rapid strokes to capture a glimpse of modern life. A crowd presses around a brazier while a bonneted woman at the left stirs something that is heating. Typically, Whistler suppresses enough detail to make the scene ambiguous, but we may speculate that the woman is a chestnut seller. Whistler created several imag

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drawing

A Kitchen at Lutzelbourg

H. Wunderlich & Co. (1874-1912) (C.L. Freer source)

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drawing

A Street Scene

H. Wunderlich & Co. (1874-1912) (C.L. Freer source)

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drawing

A Street in Venice

[1] See Original Whistler List, Paintings, pg. 25, Freer Gallery of Art and Arthur M. Sackler Gallery Archives.

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drawing

A Violet Note

"Take the pastels. Whistler did not discover the medium, but he certainly found a fresh use for it. Instead of rubbing the colour all over the paper, and generally endeavouring to imitate the effect of an oil painting, Whistler made a more crayon-like use of his pastel stick. He drew rather than painted. His colour he used sparingly with dainty, incisive touches. The result was a poetic suggestive

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drawing

A girl reclining on a couch, reading

H. Wunderlich & Co. (1874-1912) (C.L. Freer source)

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drawing

A group of figures on an esplanade

H. Wunderlich & Co. (1874-1912) (C.L. Freer source)

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drawing

A la Ferme de Maladrie

H. Wunderlich & Co. (1874-1912) (C.L. Freer source)

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drawing

A man asleep on a pile of luggage

H. Wunderlich & Co. (1874-1912) (C.L. Freer source)

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drawing

A man reclining on a bed

The figure in this drawing takes a pose similar to that taken in Attendant que le linge seche: Cologne, (F1898.202.) However, the draftsmanship is bolder and less detailed while the setting is ambiguous. Whistler's letter to Deborah Haden recalled primitive lodgings during the Alsatian trip. At one spot a woman "took our only two groschen for a bed which she made with an armful of straws, and for

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drawing

A man seated on the edge of a wall

H. Wunderlich & Co. (1874-1912) (C.L. Freer source)

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