All James Mcneill Whistler 's Paintings
The Painting Names Are Sorted From A to Z


Choice ID Image  Paintings (From A to Z)       Details 
45376 Arrangement in Grau  und Schwarz  Arrangement in Grau und Schwarz   mk181 1872 Paris Musee du Louvre
83007 Arrangement in Gray  Arrangement in Gray   1872(1872) Medium Oil on canvas cyf
56273 arrangement in grey and black the artist s mother  arrangement in grey and black the artist s mother   mk247 1871,oil on canvas,56.75x63.875 in,144x162 cm,musee d orsay,paris,france
38974 At the Piano  At the Piano   mk142 1858-59 Oil on canvas 67x91.6cm
39296 Brown and Silver Old Battersea Bridge  Brown and Silver Old Battersea Bridge   mk146 1859-63 Oil on canvas
26047 Chelsea Shops (mk46)  Chelsea Shops (mk46)   Watercolour 12.5x21cm Washington.D.C.
44791 Grand Canal Amsterdam  Grand Canal Amsterdam   mk177 1883-84 watercolor on paper 8x11in
25709 Noc-turne in Black and Gold:the Falling Rocket (mk43)  Noc-turne in Black and Gold:the Falling Rocket (mk43)   c.1875 The Detroit Institute of Arts,Gift of Dexter M.Ferry,jr.
25710 Noc-turne:Blue and Silver-Bognor (mk43)  Noc-turne:Blue and Silver-Bognor (mk43)   1871-1876 Free Gallery of Art,Smithsonian institution
56272 nocturne blue and silver chelsea  nocturne blue and silver chelsea   mk247 1871 ,oil on wood support ,19.5x23.875 in,50x61 cm,tate collection,london,uk
56286 nocturne in black and gold the falling rocket  nocturne in black and gold the falling rocket   mk247 c.1875,oil on wood,23.75x18.375 in,60.5x46.5 cm,detroit lnstitute of arts,detroit,mi ,usa
53911 Nocturne in blatte and gold  Nocturne in blatte and gold   mk234 1872-75 68x50cm
88479 Nocturne in Grau und Gold, Westminster Bridge  Nocturne in Grau und Gold, Westminster Bridge   c. 1871-1874 Medium Oil on canvas Dimensions Deutsch: 47 x 62,3 cm cjr
53315 Peacock Room fron the Frederic Leyland House  Peacock Room fron the Frederic Leyland House   mk229 1876 Washington D C
38949 Portrait of Painter-s Mother  Portrait of Painter-s Mother   mk142 1871 Oil on canvas 144.3x162.5cm Musee d-Orsay, Paris
44782 Self-Portrait  Self-Portrait   mk177 Arrangerment in Grap
91142 Symphonie in Wieb Nr. 3  Symphonie in Wieb Nr. 3   1865/1867 Medium oil on canvas Dimensions Deutsch: 51,1 x 76,8 cm cyf
95043 Symphony in White  Symphony in White   Symphony in White No 3, 1866 (on the left: Joanna Hiffernan) cyf
53912 The girl in white  The girl in white   mk234 1862 213x108cm
39316 The Little White Girl Symphony in White no.2 1864  The Little White Girl Symphony in White no.2 1864   mk147 Tate Gallery,London
38980 Trouville  Trouville   mk142 1865 Oil on canvas 49.5x75.5cm
86623 Wapping  Wapping   Date 1861(1861) Medium Oil on canvas Dimensions Deutsch: 71,1 x 101,6 cm cjr
90538 Wapping  Wapping   1861(1861) Medium oil on canvas Dimensions Deutsch: 71,1 x 101,6 cm cyf
44779 Whistler-s passion for all things oriental is presented here in his the princess from the Land of Porcelain  Whistler-s passion for all things oriental is presented here in his the princess from the Land of Porcelain   mk177
95058 Whistlers Mother  Whistlers Mother   1871 Type Oil on canvas Dimensions 144.3 cm x 162.4 cm cyf

James Mcneill Whistler
American Painter and Printmaker, 1834-1903 James Abbott McNeill Whistler's deft brushwork and mighty ego made him one of London's best-known painters in the second half of the 1800s. Born in Massachusetts, Whistler spent most of his adult life in England and France, in an era when an American artist in Europe was something of a rarity. He specialized in landscapes and (especially later in his career) portraits; stylistically he is often linked with Claude Monet and August Renoir, though he was not exactly part of the Impressionist movement. His etchings also are highly regarded. Witty, cranky and a bit of a devil, Whistler was a regular gadabout in British society. He had a famous long-running feud with the playwright Oscar Wilde, each of them trying to outwit the other with cutting public remarks. Some critics of the era considered Whistler's work to be smudgy and too radical; after viewing Whistler's 1875 study of fireworks over the Thames, Nocturne in Black and Gold: the Falling Rocket, John Ruskin wrote: "I have seen, and heard, much of cockney impudence before now; but never expected to hear a coxcomb ask two hundred guineas for flinging a pot of paint in the public's face." Whistler successfully sued Ruskin for libel but was awarded only a farthing in damages,

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