James abbott mcneill whistler biography template
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James Abbott McNeill Whistler: (1834–1903)
Later Years
After the trial, Whistler received a commission to do twelve etchings in Venice. He eagerly accepted the assignment, and arrived in the city with girlfriend Maud, taking rooms in a dilapidated palazzo they shared with other artists, including John Singer Sargent.[85] Although homesick for London, he adapted to Venice and set about discovering its character. He did his best to distract himself from the gloom of his financial affairs and the pending sale of all his goods at Sotheby's. He was a regular guest at parties at the American consulate, and with his usual wit, enchanted the guests with verbal flourishes such as "the artist's only positive virtue is idleness—and there are so few who are gifted at it.
His new friends reported, on the contrary, that Whistler rose early and put in a full day of effort. He wrote to a friend, "I have learned to know a Venice in Venice that the others never seem to have perceived, and which, if I bring back with me as I propose, will far more than compensate for all annoyances delays & vexations of spirit." The three-month assignment stretched to fourteen months. During this exceptionally productive period, Whistler finished over fifty etchings, several nocturnes, some
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James McNeill Whistler
American painter (1834–1903)
James McNeill Whistler | |
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Arrangement in Gray: Portrait of the Painter | |
| Born | July 10, 1834 Lowell, Massachusetts, US |
| Died | July 17, 1903(1903-07-17) (aged 69) London, England, UK |
| Nationality | American |
| Education | United States Military Academy, West Point, New York |
| Known for | Painting |
| Notable work | Whistler's Mother |
| Movement | Founder of Tonalism |
| Spouse | Beatrice Godwin (m. 1888; died 1896) |
| Parents | |
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James Abbott McNeill WhistlerRBA (; July 10, 1834 – July 17, 1903) was an American painter in oils and watercolor, and printmaker, active during the American Gilded Age and based primarily in the United Kingdom. He eschewed sentimentality and moral allusion in painting and was a leading proponent of the credo "art for art's sake".
His signature for his paintings took the shape of a stylized
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