Old Chelsea, Out of Whistler's Window (Battersea Reach)
| Reference: | S42087 |
| Author | Francis Seymour HADEN |
| Year: | 1869 |
| Measures: | 225 x 150 mm |
€400.00
| Reference: | S42087 |
| Author | Francis Seymour HADEN |
| Year: | 1869 |
| Measures: | 225 x 150 mm |
€400.00
Description
View of a river bank in Chelsea; in the foreground at left, people with dogs, two carrying long sticks; barges moored near the bank; the house of Whistler seen to the left.
Lettered in plate, lower left: "Whistler's House at Old Chelsea Seymour Haden ft. an[no] 1863".
Etching and drypoint; second state of two (Harrington); seventh state of seven (Schneiderman).
"All the foreground boats have vertical reflections. There is now a line at the base of the house most to the left, which extends almost to the margin of the plate. This plate 'wore out very soon and had to be destroyed before it had given its full quota of impressions. Published in Études à l'eau-forte (No. VIII.), under the title of 'Old Chelsea,' some copies having the First, others the Second State. Exhibited at the Royal Academy, 1865." [cf. Harrington, p. 28]
"There are several preliminary drawings for this print […] similar in composition though the view point is from farther into the river. State VII. Published in Études à l'eau-forte (N. VIII). Line added at base of house on left and a few lines to indicate modeling at right on the wall. The smoke, rising from the chimney of the house, second from the right of Whistler's house, is no longer visible." [cf. Schneiderman, p. 143]
Seymour Haden was the unlikely combination of a surgeon and an etcher. Although he pursued a very successful medical career, he is mostly remembered for his etched work as well as for his writings on etching. He was one of a group of artists, including James McNeill Whistler (1834–1903) and Alphonse Legros (1837–1911), whose passionate interest in the medium led to the so-called etching revival, a period that lasted well into the twentieth century. The extolling of etching for its inherent spontaneous qualities reached its pinnacle during this time. While the line of the etching needle, Haden wrote, was "free, expressive, full of vivacity," that of the burin was "cold, constrained, uninteresting," and "without identity."
Printed on contemporary laid paper, with margins, perfect condition.
Bibliografia
Henry Nazeby Harrington The Engraved Work of Sir Francis Seymour Haden, P.R.E.: an illustrated and descriptive catalogue. Liverpool, 1910, cat. no. 54 ii, p. 28, ill; Richard S. Schneiderman A Catalogue Raisonné of the Prints of Sir Francis Seymour Haden. London, 1983, cat. no. 50 vii, p. 143, ill.
Francis Seymour HADEN (Londra 1818 - 1910)
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Sir Francis Seymour Haden was born in Chelsea, London, England on September 16, 1818. Haden was amateur printmaker in the true sense of the word. A surgeon by profession, he chose etching as a hobby, but soon developed his technique to a high artistic level. Haden was in the heart of the Etching Revival in England and was a founder of the Royal Society of Painter Etchers (now the Royal Society of Painters Printmakers) and helped popularize the medium of etching in England, France, and the United States.
Although Haden made his first etchings around 1845, it was not until twelve years later that he began to seriously create in the medium. At first he worked closely with great American born artist James Abbot McNeil Whistler, his brother-in-law, but eventually their relationship disintegrated as their aesthetics took divergent paths. Haden was at his best when producing romantic, serene landscapes in either pure etching or etching combined with mezzotint.
The importance of line and light is pre-eminent in Haden’s work and reflects the influence of earlier English artists of the Norwich school, as well as 17th century Dutch artists such as Rembrandt. Although Haden viewed etching as a spontaneous medium, many of his most important compositions were first worked out in preliminary drawings and progressed through several states. Recognition of his art came in the form of a knighthood, exhibitions, and the increased popularity of the etching medium to which he devoted his artistic life.
Haden’s work is represented in the British Museum and the Tate, London; the Fitzwilliam Museum, Cambridge; the Museum of Fine Arts Boston; the Harvard Art Museums, Cambridge; the Art Institute of Chicago; the Cleveland Museum of Art; the Detroit Institute of Arts Museum; the Indianapolis Museum of Art; the Los Angeles County Museum of Art; the Memphis Brooks Museum of Art; the Metropolitan Museum of Art, New York; the New York Public Library; the Huntington Library, Pasadena; the Fine Arts Museums of San Francisco, the Kemper Art Museum, St. Louis; and the National Gallery of Art, Washington, D.C.
Sir Francis Seymour Haden died in Bramdean, Hampshire, England on June 1, 1910.
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Francis Seymour HADEN (Londra 1818 - 1910)
|
Sir Francis Seymour Haden was born in Chelsea, London, England on September 16, 1818. Haden was amateur printmaker in the true sense of the word. A surgeon by profession, he chose etching as a hobby, but soon developed his technique to a high artistic level. Haden was in the heart of the Etching Revival in England and was a founder of the Royal Society of Painter Etchers (now the Royal Society of Painters Printmakers) and helped popularize the medium of etching in England, France, and the United States.
Although Haden made his first etchings around 1845, it was not until twelve years later that he began to seriously create in the medium. At first he worked closely with great American born artist James Abbot McNeil Whistler, his brother-in-law, but eventually their relationship disintegrated as their aesthetics took divergent paths. Haden was at his best when producing romantic, serene landscapes in either pure etching or etching combined with mezzotint.
The importance of line and light is pre-eminent in Haden’s work and reflects the influence of earlier English artists of the Norwich school, as well as 17th century Dutch artists such as Rembrandt. Although Haden viewed etching as a spontaneous medium, many of his most important compositions were first worked out in preliminary drawings and progressed through several states. Recognition of his art came in the form of a knighthood, exhibitions, and the increased popularity of the etching medium to which he devoted his artistic life.
Haden’s work is represented in the British Museum and the Tate, London; the Fitzwilliam Museum, Cambridge; the Museum of Fine Arts Boston; the Harvard Art Museums, Cambridge; the Art Institute of Chicago; the Cleveland Museum of Art; the Detroit Institute of Arts Museum; the Indianapolis Museum of Art; the Los Angeles County Museum of Art; the Memphis Brooks Museum of Art; the Metropolitan Museum of Art, New York; the New York Public Library; the Huntington Library, Pasadena; the Fine Arts Museums of San Francisco, the Kemper Art Museum, St. Louis; and the National Gallery of Art, Washington, D.C.
Sir Francis Seymour Haden died in Bramdean, Hampshire, England on June 1, 1910.
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