James McNeill Whistler

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James McNeill Whistler

James Abbott McNeill Whistler [dʒeɪmz ˈæbət məkˈniːl ˈwɪslɚ] (born July 11, 1834 in Lowell , Massachusetts , † July 17, 1903 in Chelsea , London ) was an American painter.

life and work

Self-portrait, etching, 1859
Self-Portrait, Detroit Institute of Arts
Portrait of Whistler by Alice Pike Barney , pastel, 1898

In 1843 his family moved to Saint Petersburg , where his father, Major George Washington Whistler, worked as a railway engineer for the Tsar . The artist's mother, Anna Matilda McNeill, was a devout Christian whom he admired all his life. In his early teens, he exchanged his middle name Abbott for her maiden name McNeill. The family lived luxuriously, and James received private lessons from a Swedish educator. From 1845 Whistler attended drawing classes at the Imperial Academy of Fine Arts in St. Petersburg . His father died in the cholera epidemic in 1848, after which his family returned to America with him.

In 1851 Whistler entered the Military Academy at West Point. However, he lacked discipline and after three years he was expelled from the academy - according to legend, he failed a chemistry exam. (He is reported to have said later, "If silicon were a gas, I would have become a general.") In the department of the United States Coast and Geodectic Survey, he learned to map, which later came in handy when creating etchings.

In 1855 Whistler went to Paris to the drawing school École Impériale et Spéciale de Dessin. Whistler had his father's inheritance administered through his half-brother in America, which ensured him an annual income of around 2,000 francs, but did not prevent him from living beyond his means. He had read La Vie de Bohème in America and wanted to live that way. He benefited from the fact that he was fluent in the French language and quickly found access to the scene. In addition, he began training in Charles Gleyre's studio . Gleyre was a successful painter, but neither a teacher at the École nor a member of the Académie. He remembered his own poverty as an art student and charged very little for his classes. Besides Whistler, Claude Monet , Auguste Renoir and Alfred Sisley also benefited from this . He was a talented teacher, and his students benefited from his persistent teaching method. Whistler copied paintings in the Louvre, which is where his lifelong admiration for Velázquez came. He also got to know and admire Japanese prints and oriental art. Whistler admired the works of Dutch masters such as Jan Steen , Rembrandt and Salomon van Ruysdael . In 1858 he visited Holland to watch the night watch. He later traveled repeatedly to the Netherlands and visited The Hague , Dordrecht and Domburg . However, his favorite city was Amsterdam , from which he made numerous etchings.

Stylistically, however, realism became more important for Whistler . He was particularly influenced by Gustave Courbet and Henri Fantin-Latour ; he was friends with both artists and they called themselves “Société des Trois”. Henri Fantin-Latour also depicted Whistler in his painting Hommage à Delacroix . He led the bohemian lifestyle in Paris . When his painting At The Piano was rejected by the Paris Salon in 1859, he traveled to London. Here his picture was shown at the Royal Academy of Arts exhibition in 1860.

In the spring of 1858 he turned seriously to etching . To complete his French series, he worked closely with Seymour Haden (husband of Whistler's half-sister Deborah) for two months in his house on Sloane Street, where Haden had set up a printing press.

He first turned to the direction of L'art pour l'art . After his Symphony in White had been rejected both in 1862 by the Royal Academy and in 1863 by the Paris Salon, he put his 1861 painted The White Girl in the Salon des Refusés (Salon of the rejected) from where it along with Manet's Luncheon on the Grass too Scandal led. In 1865 he met Albert Joseph Moore . In the following years both influenced each other in painting style and subject.

In the first half of the 1860s he painted Japanese motifs, which were then in vogue among the avant-garde. Objects from Whistler's own collection of Chinese porcelain, kimonos, lacquer work, fans and painted wall screens were also included. The title of his painting Purple and Rose: The Lange Leizen of the Six Marks puzzled the audience. He refers to Chinese vases from the 17th century that were painted with elongated figures - the so-called "Lange Lijzen". The "Six Marks" are the manufacturer's mark on the bottom of the vase. The Balcony can probably be viewed as questionable with the London background. It was followed by The Golden Screen and then The Princess from the Land of Porcelain , which Frederick Leyland bought and which found its place over the mantelpiece of his dining room, which became known as the "peacock room".

In 1866 he traveled by ship to South America, where he painted the ocean in Valparaíso . For the first time, the Japanese influence was reflected in the signature. From 1869 he signed his paintings with a butterfly monogram, which was composed of his first letters JW.

In the 1870s he painted over thirty “Nocturnes”. They show nocturnal motifs from London, mostly river views of the Thames, in an almost monochrome color scheme. Since the Nocturnes did not represent exact topographical views ( vedute ), but Whistler was concerned with the harmonious color effects, he and his art were often described by critics as eccentric.

His most famous picture, the portrait of his mother , was created in 1872 . Thomas Carlyle , who lived in the neighborhood, also liked the picture , so he had Whistler paint him too.

In 1877 he sued the art critic John Ruskin for libel and defamation. Ruskin had said in an article that Whistler had not only dared to throw a pot of paint in the face of the audience (by which he meant the painting " Nocturne in Black and Gold: the falling rocket " shown in the Grosvenor Gallery ), but also them Obsessed with cheek to charge two hundred guineas for it. Whistler won the case in the London High Court in 1878, but was awarded only symbolic damages from a farthing . Potential sponsors had been deterred by the negative publicity the process brought with it, so Whistler had to file for bankruptcy in 1879 due to the costs of the process. His house was sold and he traveled to Italy to do twelve etchings of Venice for the Fine Arts Society . In 1894 Ernst Oppler traveled to London to learn to etch with Whistler. Whistler was also the model for a series of studies by Oppler and recommended this later membership in the International Society of Sculptors, Painters and Gravers .

In 1898 Whistler opened his Académie Carmen art school in Paris , which he closed again in 1901.

Whistler's work includes over 400 oil paintings , over 200 watercolors , nearly 300 pastel drawings , 450 etchings and 190 lithographs .

The exhibitions

Giovanni Boldini : James McNeill Whistler, oil on canvas, 1897

"Arrangement in White and Yellow"

For the Fine Arts Society Whistler exhibited in the Dowdeswelle Gallery in February 1883 mainly etchings, most of which showed Venice 1879-1880. Whistler described his installation as “radiant and graceful - white walls in different shades of white, with painted shapes - not gilded! - yellow velvet curtains - light yellow straw mats - yellow sofas and small bamboo cane chairs - beautiful little yellow tables, own design - oriental ceramics with yellow flowers in different colors and tiger lilies! Forty excellent etchings .. in their exquisite white frames - with their small butterflies - large white butterflies on yellow curtains and yellow butterflies on white walls - and finally a servant in yellow livery ”. The art world had to admit enviously that Whistler had created a backdrop that admirably showed off his etchings. The servant who sold programs came to be known as the Poached Egg Man.

"Arrangement in Flesh Color and Gray"

The 1884 exhibition was intended to depict the interior of a Venetian palace. Whistler had the walls lined with wool and serge. The lower part of the wall was creamy white, the upper part flesh-colored serge. The chairs were white, pink, or gray. A gray carpet covered the floor, the mantelpiece was decorated with a cross-curtain made of gray velvet, embroidered with silver- and flesh-colored butterflies. Planters (some pink, some white) with azaleas, white daisies and daisies were scattered around the rooms. The new thing was that Whistler presented both oil paintings and (small) drawings in the same frame size. The frames were chosen to match the picture in three different shades of gold. He was expressing that these small pictures were just as important as the big ones. Whistler established a visual element that connects the paintings and drawings with the surrounding walls. This should show that his work can be seen as a combination of color and line and not as a window into the real world.

"Arrangement in Brown and Gold"

A third exhibition was opened in May 1886. 75 works were shown, 48 of which were watercolors. Whistler had designed the catalog again. Details of this exhibition have not been preserved. It is only known that all three exhibitions did not bring the hoped-for financial success.

The “Ten O'Clock” lecture

Harmony in Gray and Green: Miss Cicely Alexander 1873

In 1885 Whistler gave his "Ten O'Clock" lecture in London, a manifesto of aestheticism . For Whistler, art was not identical with life or nature, not their image. “Nature contains the elements of all images in color and form, just as the keyboard includes the notes of all music. But the artist is there to make a selection and knowingly arrange those elements so that he can achieve a beautiful result - just as the musician collects his notes and shapes his tones until he creates perfect harmony out of the chaos. If you asked the painter to take nature as it is, it would be no different than telling the piano player to sit down on the keyboard. ”Whistler in practice: the muslin of Cicely Alexander's dress was made by him selected himself, the black and white carpet on which she stood, specially made, the position of the frills and bows constantly monitored and corrected by him - the girl is said to have stood for 70 hours as a model.

The Peacock Room - harmony in blue and gold

Photo of the peacock room 1877
Detail of the Peacock Room, Freer Gallery of Art, Washington, DC

The interior of the house had already been completely remodeled by Norman Shaw for Frederick Leyland, and all that remained was Thomas Jeckyll's remodeling of the dining room. It all started quite harmlessly: the architect Thomas Jeckyll had installed an antique gilded leather wallpaper for Leyland's dining room, which was to display his valuable Chinese blue-and-white porcelain collection from the Kangxi period (1662–1722) of the Qing dynasty the porcelain is arranged in grid-shaped shelves. Whistler's Princess from the Land of Porcelain , acquired by Leyland in 1864, hung over the mantelpiece. Jeckyll then asked Whistler, who was painting the staircase, for his opinion on a color for the door that would match the painting mentioned. But now Jekyll got sick.

Whistler suggested some changes to Frederick Leyland. Leyland agreed and went on an extended business trip. Whistler added a wave pattern to the cornice and wood paneling. He painted over the red flowers on the leather wallpaper because they did not match the colors in his painting La Princesse du pays de la porcelaine . But nobody expected what happened next. Whistler first decorated the shutters with golden peacocks. Then he gilded not only the leather wallpaper, but also the shelves. A peacock-blue-greenish band over it formed the conclusion. Whistler also painted the entire ceiling panels with peacock plumage - only the lamps were left unchanged. Except for the greenish-blue walls, the room now shimmered in gold tones to highlight the shine of the porcelain. For Whistler, the room was a three-dimensional work of art that exuded the beauty of a Japanese lacquer box.

As the remarkable decoration in the style of Japonismus became known, Whistler invited some visitors and the press to visit in the absence Leyland. That was unabashed behavior and, in addition to the argument about payment, led to a falling out between Whistler and his employer. Leyland wanted to pay Whistler in pounds instead of guineas .

The quarreling peacocks

Annoyed and upset, Whistler painted over the precious leather wallpaper on the opposite wall with Prussian blue paint and left a mural painting with two arguing peacocks. The plumage of the right peacock depicted Leyland - allegorically with a frilled shirt breast and the plumage decorated with gold coins - while the left, tame peacock depicted Whistler with his white lock of hair. The eyes of the peacocks were made of real precious stones, one with diamonds, the other with rubies.

"Art and Money: or, the story of the room."

Whistler wrote to Leyland:

“The world only knows you as the possessor of that work they have all admired and whose price you refused to pay… From a business point of view, money is all important. But for the artist, the work alone remains the fact. That it happened in the house of this one or that one is merely the anecdote - so that in some future dull Vasari - you will go down to posterity, like the man who paid Correggio in pennies! ”

“The world knows you as the owner of this work that everyone has admired and the price of which you refused to pay ... From a business point of view, money is very important. But for the artist his work alone remains a fact. That this happened in the house of this or that person is just an anecdote - so that you will go down with a future boring Vasari as the man who paid Correggio in pennies! "

Whistler's eccentricity in posture and clothing (monocle and cane), combined with artistic arrogance, sharp tongue and hurtful humor, soon made him the talk of the town and he was quoted everywhere. His friends included Dante Gabriel Rossetti , Algernon Swinburne and Oscar Wilde .

The lithography

In 1887, lithography experienced a renaissance in France and became the preferred medium when Jules Chéret founded the “Société des Artistes Lithographes” with other artists such as Camille Corot , Edgar Degas and Henri Fantin-Latour . In addition to his etchings, Whistler exhibited a lithograph at the Hogarth Club, which received positive reviews from the press. The London office of Boussod, Valadon & Co. issued a portfolio entitled "Notes" which was distributed by Thomas Way. In England, lithographs were considered an inexpensive way to produce promotional materials that were machine-printed and were unknown as works of art. Thomas Way introduced Whistler to the manufacturing process and prepared the stones. Whistler was able to draw on special paper (transfer paper) with suitable chalk pens, and Way then transferred the drawing onto the stone. His wife Beatrix, herself an amateur painter, liked the lithographs because he was able to process his impressions on their travels together. However, Thomas Way handed the orders for colored lithographs to the experienced Henry Belfond in Paris.

In the 1880s, Whistler exhibited again in Paris after a break of nearly ten years. His works were not only shown in the salon, but also in modern art galleries such as those of Paul Durand-Ruel and Georges Petit . Critics like Théodore Duret helped him gain prestige in France. His participation in the Les Vingt exhibition in Brussels in 1884 brought him success. In Munich he took part in the International Art Exhibition in 1888 with numerous works. His work has also been shown at the Glasgow Institute of the Fine Arts .

In 1890 he published excerpts from disapproving art reviews of the Victorian Philistines , which he had collected and pointedly commented on, under the title The art of making enemies . A large retrospective of his oil paintings in London's Goupil Gallery in 1892 finally consolidated his fame in England. Nevertheless, he moved to Paris with his wife Beatrix, where the French state bought his mother's portrait for the Musée du Luxembourg in 1891 . In 1899 his works were shown at the Pastel Society . In his final years he enjoyed the reputation of a living old master. Together with the American collector Charles Lang Freer , he built up his Whistler collection with a museum claim, which was finally realized in the Freer Gallery of Art . The above mentioned peacock room is also located there.

Private life

Whistler, Girl in White, 1862, National Gallery of Art , Washington DC

Joanna ("Jo") Hifferan was Whistler's Irish model and lover. She was funny and beautiful, with red hair and a hot temper. His family did not accept her because she was unmarried and modeled for nude studies. He immortalized them in 1862 in his most famous painting Symphony in White, No. 1: The White Girl and in 1861 in Wapping - the docks on the Thames. When she sold Whistler's work, she called herself “Mrs. Abbott ”.

Whistler's mother had moved to England in 1863. Whistler portrayed her in 1871 and named the picture Arrangement in Gray and Black .

In 1870, Whistler's illegitimate son Charles JW Hanson was born. The mother was Louisa Fanny Hanson, a housemaid. The betrayed lover Joanna Hifferan looked after the son, including in 1880, when Whistler traveled to Venice with his new lover, Maud Franklin. Both Joanna Hifferan and Whistler's son, Charles JW Hanson, lived intermittently with her sister, Bridget Singleton's family in Thistle Grove, Chelsea. Whistler's brother William, who had been married to Helen "Nellie" Ionides since 1877, acted as counselor. Whistler himself supported Hanson financially and gave him e.g. B. a vacation job when he began his engineering studies at King's College, London in 1887. He later behaved distant towards his son and did not attend his 1896 wedding to Sarah Ann Murray.

In 1888 Whistler married Mrs. Beatrix Goodwin, the widow of the architect EW Goodwin and daughter of the sculptor JB Philip. She died of cancer in 1896.

After his wife's death in 1896, he stayed in Paris until 1901. Then he rented in No. 74 Cheyne Walk in London, where he was looked after by his mother-in-law Mrs. Birnie Philip and his sister-in-law Mrs. Whibley. In 1900 he escaped the London fog and traveled to Tangier and Algiers and from Marseille to Ajaccio. In July 1902 he traveled to Holland in the company of his compatriot Charles L. Freer, who already owned a large collection of his pictures. During the trip, he suffered a heart attack from which he recovered through the care of doctors in The Hague . But he relapsed in June 1903 and died of heart failure on June 17. He was buried next to his wife in the Chiswick cemetery.

Awards

  • In 1888 he was elected a member of the Royal Academy of Fine Arts in Munich.
  • In January 1892 he became an officer of the Legion of Honor (Officier de la Légion d'Honneur)

Selection of works

Oil painting
Etchings
Lithographs
Interior design
Fonts
  • Whistler: The fine art of making enemies . With a few entertaining examples of how I first deliberately brought the serious people of this world to frenzy and then, in their false sense of right, to indecency and folly. Berlin 1909.

Individual evidence

  1. ^ Whistler as a student in Marc-Charles-Gabriel Gleyre's studio
  2. ^ Henri Fantin-Latour: Homage to Delacroix , painted in 1864.
  3. ↑ etching press ( Memento of the original from March 28, 2013 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot / www.worldprintmakers.com
  4. ^ Purple and Rose: The Lange Leizen of the Six Marks
  5. ↑ Linda Merrill: Whistler and the 'Lange Lijzen' in: The Burlington Magazine. Vol. 136, No. 1099 (Oct. 1994), pp. 683-690.
  6. ↑ Variations In Flesh Color And Green - The Balcony ( Memento of the original from June 2, 2010 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice.  @1@ 2Template: Webachiv / IABot / www.asia.si.edu
  7. ↑ Caprice in Purple and Gold, No. 2: The Golden Screen ( Memento of the original from January 19, 2013 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot / www.asia.si.edu
  8. ↑ Rose and Silver: La Princesse du Pays de la Porcelaine ( Memento of the original from January 19, 2013 in the Internet Archive ) Info: The archive link has been inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot / www.asia.si.edu
  9. ↑ Symphony in Gray and Green: The Ocean  ( page no longer available , search in web archives )  Info: The link was automatically marked as defective. Please check the link according to the instructions and then remove this notice.@1@ 2Template: Toter Link / collections.frick.org  
  10. ^ The Fine Art Society
  11. ↑ Börsenblatt for the German book trade. No. 43, 1987, p. 2798.
  12. ↑ http://www.whistler.arts.gla.ac.uk/correspondence/biog/display/?bid=Oppl_E Correspondances of James McNeill Whistler, University of Glasgow, accessed January 31, 2014
  13. ^ Cyrus Cuneo: Whistler's Academy Of Painting. Some Parisian Recollections. ( Digitized version )
  14. ^ Dowdeswelle Gallery
  15. ↑ "Mr. Whistler's Galleries: Avant-Garde in Victorian London “Exhibition at the Smithsonian's Freer Gallery in Washington ( Memento of the original from March 7, 2013 in the Internet Archive ) Info: The archive link was automatically inserted and not yet checked. Please check the original and archive link according to the instructions and then remove this notice. from Nov. 20 through April 4, 2004.  @1@ 2Template: Webachiv / IABot / www.asia.si.edu
  16. ↑ Notes on the exhibition
  17. ↑ Mr. Whistler's Ten O'Clock Public Lecture, Prince's Hall, Piccadilly, February 20, 1885. The Correspondence of James McNeill Whistler, University of Glasgow
  18. ↑ Harmony in Gray and Green: Miss Cicely Alexander ( Memento of the original from June 3, 2013 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot / www.mr-whistlers-art.info
  19. ^ Portrait of FR Leyland
  20. ↑ Peacock Room with ceiling and open shutters
  21. ↑ Cartoon of Rich and Poor Peacocks. Dimensions 181.0 cm x 389.2 cm ( Memento of the original dated February 3, 2012 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot / www.mr-whistlers-art.info
  22. ↑ The Peacock Room ( Memento from April 30, 2014 in the Internet Archive )
  23. ^ Whistler and Thomas Way
  24. ↑ Chalk pens for lithographs ( Memento of the original from April 19, 2012 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot / www.mr-whistlers-art.info
  25. ^ Whistler at the Art Institute of Chicago
  26. ↑ Per Amann: The late Impressionists. Berghaus Verlag, Kirchdorf-Inn 1986, ISBN 3-7635-0106-1 .
  27. ↑ The White Girl ( Memento of the original from April 27, 2013 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot / www.mr-whistlers-art.info
  28. ↑ Wapping ( Memento of the original from April 26, 2013 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot / www.mr-whistlers-art.info
  29. ^ Portrait of the artist's mother
  30. ↑ Whistler's son Charles JW Hanson

literature

  • Grischka Petri: Arrangement in Business. The Art Markets and the Career of James McNeill Whistler (= Studies on Art History. Vol. 191). G. Olms, Hildesheim et al. 2011, ISBN 978-3-487-14630-0 (also: Bonn, Universität, Dissertation, 2006).
  • Sylvia Yount, Marc Simpson, Linda Merrill: After Whistler. The Artist and His Influence on American Painting. The Yale University Press, New Haven CT et al. 2003, ISBN 0-300-10125-2 .
  • Linda Merrill: The Peacock Room. A Cultural Biography. The Yale University Press, New Haven CT et al. 1998, ISBN 0-300-07611-8 .
  • Martha Tedeschi, Britt Salvesen: Songs on Stone. James McNeill Whistler and the Art of Lithography (= The Art Institute of Chicago. Museum Studies. Vol. 24, No. 1). Art Institute of Chicago, 1998, ISBN 0-86559-153-9 .
  • Ronald Anderson, Anne Koval: James McNeill Whistler. Beyond the Myth. Murray, London 1994, ISBN 0-7195-5027-0 .
  • Robert H. Getscher: James Abbott McNeill Whistler. Pastels. George Braziller, New York NY 1991, ISBN 0-8076-1266-9 .
  • Robin Spencer (Ed.): Whistler. A retrospective. Levin, New York NY 1989, ISBN 0-88363-689-1 .
  • Andrew Dempsey: Whistler and Sickert: A friendship and its end. In: Apollo. Vol. 83, January 1966, ISSN  0003-6536 , pp. 30-37.
  • Denys Sutton: James McNeill Whistler. Paintings, Etchings, Pastels and Watercolors. Phaidon Press, London 1966.
  • John Sandberg: "Japonisme" and Whistler. In: The Burlington Magazine . Vol. 106, No. 740, November 1964, pp. 500-507.
  • Denys Sutton: Nocturne. The Art of James McNeill Whistler. Country Life Ltd., London 1963.
  • Horace Shipp: Ruskin versus Whistler. In: Apollo. Vol. 72, September 1960, pp. 61-62.
  • Horace Gregory: The World of James McNeill Whistler. Nelson, New York et al. 1959.
  • Elizabeth R. Pennel, Joseph Pennel: The Whistler Journal. JB Lippincott Company, Philadelphia PA 1921, digitized .
  • Albert E. Gallatin: The portraits and caricatures of James McNeill Whistler. An iconography. John Lane Company et al., London et al. 1913, digitized .
  • Joseph Penell, François Courboin: Concerning the etchings of Mr. Whistler. 7th edition. Frederick Keppel & Co., New York NY 1910, digitized .
  • Elizabeth R. Pennel, Joseph Pennel: The Life of James Mc Neill Whistler. 2 volumes. W. Heinemann, London 1908, digitized volume 1 , digitized volume 2 .
  • Ernst W. Bredt : James A. Mc Neil Whistler. In: The art. Monthly books for free and applied arts. Vol. 20 = Vol. 11, 1905, ISSN  1435-747X , pp. 10-15 .
  • Hermann Lismann : Paris. Whistler exhibition. In: The art. Monthly books for free and applied arts. Vol. 20 = Vol. 11, 1905, p. 455 .
  • Daniel E. Sutherland : Whistler: a life for art's sake , New Haven [u. a.]: Yale University Press, 2014, ISBN 978-0-300-20346-2

Web links

Commons : James McNeill Whistler  - Album with pictures, videos and audio files
personal data
SURNAME Whistler, James McNeill
ALTERNATIVE NAMES Whistler, James Abbott McNeill
BRIEF DESCRIPTION American painter
DATE OF BIRTH July 11, 1834
PLACE OF BIRTH Lowell, Massachusetts
DATE OF DEATH July 17, 1903
Place of death Chelsea (London)