More than Whistler’s mother

Symphony in Black and White, an exhibition of Whistler’s etchings and lithographs are at the Minneapolis Institute of Art until the end of March.

This show celebrates the centenary year of James McNeill Whistler’s death. Whistler is considered central to the etching revival of the mid-nineteenth century, and was also the first artist to sign and number his prints, thus leading to an increased interest in print collecting. Whistler was a master at composition and value, as well as an expert draftsman. All this combines to make him one of history’s preeminent printmakers.

“Dronet,” is Whistler’s portrait of a man in which the face is meticulously drawn and the shoulders, torso and arms are loosely drawn, light and airy. The face, dark and serious, exemplifies the moodiness; the light, loose quality brings our focus to the face. “Reading by lamplight” and “Reading in Bed” are two lovely portraits of women in the very private and very relaxed act of reading. Again expertly executed the face is the focal point. Somewhat comically, their faces are shockingly close to what they read—now they would definitely have reading glasses.

“Bibi Laloute” is the portrait of a little girl who sits on a bed with a small toy near her. She looks down, somber and solemnly, thinking. The pose looks a little staged. Anyone who has spent any time around children knows they do not stay like this long, “Bibi Laloute” looks like shes in pain. “Bibi Valentin” is the portrait of another little girl who stares directly into the viewer’s eyes. She has a sweet face, is elegant and poised. Her body is elongated; the posture is almost coquettish, as if she is flirting with the viewer and could jump from the couch. The “Bibi Valentin” pose looks too provocative for a little girl, but let’s hope Whistler was just used to posing women, not little girls.

“Study,” the lithograph of Whistler’s mistress Maud Franklin is very loosely executed. She is posed in a lovely, long, languid composition; she stretches out diagonally, feet on floor juxtaposed with the 90-degree angle of the chair she sits in. Again, reading with the book right in front of her face. This piece is very modern—she is rendered so sketchy we can barely make out the features of her face. Whistler’s experimentation in form and composition put him in the forefront of his time.

“Weary” is the portrait of a woman in a drippingly languid pose. This piece exemplifies the influence on Whistler by Rossetti. Her face fades from view in a haze of fuzzy line. This heightens the romanticism of the piece. “Weary” was one of many pieces dubbed”art for arts sake.” “Nocturne: Palaces” is an etching chock full of smokey, romantic ambience. The palace seems to dissolve amid humidity and shimmering moonlight. Whistler’s best prints are those that are dark and smokey, romantic and smoldering. “The Little Putney” is an etching of a bridge on blue paper. Sweet, simple and noteworthy, this one typifies Whistler’s expertise at simple compositition and line drawing.

It is almost too much to see nothing but black ink prints, even if they are Whistler’s. Luckily there are two paintings in the show. A little color goes a long way. “Howth near Dublin” is a gorgeous simple landscape, with the rich, subtle color that is one of Whistler’s trademarks. It is helpful to see some color while seeing Symphony in Black and White; it is a good way to cleanse your visual palette so you can go back for more.

After you see Whistler’s prints, I highly recommend seeing Jenny Schmid and Faye Passow’s prints. Current lithographs and etchings by Minnesota’s very own skilled contemporary printmakers. Their show, Unprepared, is in the Minnesota Artist Exhibition Program gallery, same floor as Whistler.

Symphony in Black and White runs through March. The Minneapolis Institute of Arts is located at 2400 3rd Ave. S., Mpls. 612-870-3171.