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Paläste in der Nacht Whistler in Venedig von Margaret F. MacDonald 2001 HB/DJ NIS-

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Palaces in the Night Whistler in Venice by Margaret F. MacDonald 2001 HB/DJ NIS
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Artikelzustand
Neu: Neues, ungelesenes, ungebrauchtes Buch in makellosem Zustand ohne fehlende oder beschädigte ...
Narrative Type
Nonfiction
Features
1st Edition
ISBN
9780520230491

Über dieses Produkt

Product Identifiers

Publisher
University of California Press
ISBN-10
0520230493
ISBN-13
9780520230491
eBay Product ID (ePID)
1876003

Product Key Features

Book Title
Palaces in the Night : Whistler in Venice
Number of Pages
160 Pages
Language
English
Publication Year
2001
Topic
Individual Artists / General, Letters, American / General, European
Illustrator
Yes
Genre
Art, Literary Collections
Author
Margaret F. Macdonald
Format
Hardcover

Dimensions

Item Height
0.8 in
Item Weight
33.7 Oz
Item Length
11.5 in
Item Width
9.5 in

Additional Product Features

Intended Audience
Trade
LCCN
2001-269912
Dewey Edition
21
Dewey Decimal
741/.092
Synopsis
In September 1879, James McNeill Whistler boarded the Venice-bound night train in Paris. He was forty-five years old and bankrupt. What was to be a three-month stay in the Italian city--long enough to complete a set of twelve etchings--stretched to fourteen months. When Whistler returned to London, he brought back over fifty magnificent etchings and a hundred pastels, far in excess of the original commission. InPalaces in the Night,Margaret F. MacDonald looks at this key period in Whistler's career, examining his unique vision of Venice and his development of the medium of etching. She shows how he reestablished himself in the art world of London and Paris, turning disaster and disgrace into profit and prestige. Lavishly illustrated with some of the most beautiful and intriguing images Whistler ever produced, this book provides a fascinating account of a pivotal period in the artist's long and complicated career. Whistler's aim was to restore both his fortune and reputation with the Venetian etchings. To that end he included views of familiar sights like the Riva degli Schiavoni and San Marco, but he also captured quiet backwaters, secret gardens, and lantern-lit windows that did not appear in any guidebook. His selection of views and compositions, plus the expressiveness of his line and printing, differentiated his work from that of others, and MacDonald shows the process by which Whistler selected, shaped, and edited his Venetian corpus. He drew figures in distinctively Italian costume, each an individual, moving, gesturing, and interacting with other real people. An appendix of Whistler's letters from Venice provides an entertaining account of his time there and also deepens the reader's understanding of how the city challenged and inspired him., In September 1879, James McNeill Whistler boarded the Venice-bound night train in Paris. He was forty-five years old and bankrupt. What was to be a three-month stay in the Italian city--long enough to complete a set of twelve etchings--stretched to fourteen months. When Whistler returned to London, he brought back over fifty magnificent etchings and a hundred pastels, far in excess of the original commission. In Palaces in the Night, Margaret F. MacDonald looks at this key period in Whistler's career, examining his unique vision of Venice and his development of the medium of etching. She shows how he reestablished himself in the art world of London and Paris, turning disaster and disgrace into profit and prestige. Lavishly illustrated with some of the most beautiful and intriguing images Whistler ever produced, this book provides a fascinating account of a pivotal period in the artist's long and complicated career. Whistler's aim was to restore both his fortune and reputation with the Venetian etchings. To that end he included views of familiar sights like the Riva degli Schiavoni and San Marco, but he also captured quiet backwaters, secret gardens, and lantern-lit windows that did not appear in any guidebook. His selection of views and compositions, plus the expressiveness of his line and printing, differentiated his work from that of others, and MacDonald shows the process by which Whistler selected, shaped, and edited his Venetian corpus. He drew figures in distinctively Italian costume, each an individual, moving, gesturing, and interacting with other real people. An appendix of Whistler's letters from Venice provides an entertaining account of his time there and also deepens the reader's understanding of how the city challenged and inspired him.
LC Classification Number
NC139.W45A4 2001

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