Whistler, His Followers and His Brother-In-Law
The Artistic Circle and the Artists Influenced by Him
The Artistic Circle and the Artists Influenced by Him
- Whistler, La Vieille aux Loques
- Whistler, The Rag Gatherers
- Whistler, The Music Room
- Whistler, Drouet
- Whistler, Old Hungerford Bridge
- Whistler, Tatting
- Whistler, Old Putney Bridge
- Whistler, San Giorgio
- Whistler, The Bridge, Venice
- Whistler, Alderney Street
- Whistler, Regent's Quadrant
- Whistler, The Tyresmith
- Whistler, Grand Rue, Dieppe
- Whistler, Clockmaker's House
- Whistler, The Smith
- Whistler, Back of the Gaiety
- Haden, Mytton Hall
- Haden, A Water Meadow
- Haden, Shere Mill Pond
- Haden, Sunset in Ireland
- Haden, The Breaking Up of the Agamemnon
- Keene, Portrait Mrs. Heseltine
- Greaves, Portrait of a Woman
- Roussel, Chelsea Palaces
- Roussel, Chelsea Children
- Roussel, Portrait Miss Austin
- Roussel, A Study by Lamplight
- Roussel, House in Green Park
- Way, Sailing Ship
- Sickert, Mother and Daughter
- Sickert, Mon Bon Dodo
- Winslow, Boat-Building Yards
- Addams, Little Market Place
- Anderson, Market Passage
- Bacher, Castello Quarter, Riva
- Menpes, Little Bridge, Amsterdam
- Menpes, Old Wooden House
- Short, George's Dock
- Weir, Coon Alley
- Hassam, The Little Church
- Pennell, Butcher's Row
- Pennell, St. Paul's
- Pennell, London Bridge
- Pennell, Tyburn
- Marin, Meaux Cathedral
- Marin, Market Place
- McBey, Antwerp
- McBey, The Silk Dress
- Leheutre, La Rochelle
- Leheutre, La Passerelle
- Jones, Workshop
- Winkler, Clay Street Hill
- Winkler, Low Tide
- Winkler, La Marchande Endormie
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24. Theodore Roussel (1847-1926) Chelsea Palaces (black & white version) |
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(click on image to print)
Chelsea Palaces (black & white version)
Etching, 1888-89, 79 x 119 mm., Roussel/Mackay 13; Hausberg 16 iii/iii, total printing about 54.
Fine, black impression (the color version was from a different plate) on old laid paper with good margins. Roussel was introduced to Whistler, at the latter's request, around 1885 and almost immediately became a member of the Whistler circle. He literally venerated Whistler, and the latter spoke of him as "a follower worthy of the Master." Roussel, who began as a painter, did not begin to etch until 1887, and the work he did closely parallels Whistler's prints of the time, not least because they knew the same people, lived in the same area, and were drawn to the same subjects. But Roussel's etching technique was similar and he also took to trimming his prints and signing them on tabs in imitation of Whistler. Still, this was a different and interesting artistic personality and his etchings deserve to be taken on their own merits.
