A revolutionary 19th-century vision
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A restless creative who was ahead of his time, James McNeill Whistler pushed painting toward abstraction before it had a name. At Tate Britain, the largest European retrospective of the British artist in three decades is a once-in-a-generation opportunity to discover the full scope of his varied career — from gritty paintings of the River Thames to his near-formless Nocturnes, notably with the largest such assembly of these landscapes in more than 30 years. The show spans some 150 works across painting, printmaking and design, showcasing the iconic depiction of his mother seated in a chair alongside lesser known stylistic experiments and his astonishing full-length portraits reworked to an almost apparitional effect.
James McNeill Whistler, “Symphony in White, No. 2: The Little White Girl,” 1864.
