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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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What Reviewers Are Saying
"A collection of three long beautifully illustrated essays that look beyond his sometimes reductive self-presentation to redefine Whistler's engagement with nature."--World of Interiors "Sets out to cast a new light on the work of the master by taking a different approach to his oeuvre ... quietly lovely."-- (01/01/2019) "Illuminating ... invites us to focus on less familiar aspects of his work." -- (11/01/2018) "Much to see ... reveals Whistler's multi-faceted talent."-- (11/01/2018) "A handsome display"--Daily Telegraph (10/01/2018) "Animate[s] Whistler's work with the suggestion not just that nature is the covert subject of his most interesting art, but also that nature was always for him artificial."--Apollo (10/01/2018) "Fascinating show ... [a] sense of an an eager, shaping intelligence stands behind all of the works."-- (11/01/2018) "This is not Whistler as we generally know him ... aims to show the Anglo-American artist in a new light as it explores his relationship with nature."--Timeless Travels