| Whistler’s student and biographer, Joseph Pennell, likened the modern master to Rembrandt, going so far as to state outright that Whistler was more skilled and talented than the Dutch artist. During his first years as an etcher, Whistler was especially under the influence of the Dutch master. Whistler had made a few etchings before his arrival in Britain in October of 1855 when he was re-introduced to the household of his half-sister Deborah and his brother in law, Seymour Haden. Haden was aware of the Whistler's ambitions to become an artist and had continued to amass a very serious collection of old master prints-particularly those by Rembrandt-which Whistler had studied carefully. In mid-August of 1858 Whistler decided to visit Amsterdam and the works of Rembrandt and other Dutch masters. He went by way of Alsace and the Rhine Valley where he found the subjects for the Unsafe Tenement and La Marchande de Moutard. Returning to Paris in October, Whistler proofed his existing plates and made six more - four from Rhine journey drawings - and two new Paris subjects. He was intent on publishing a set of etchings and sought out Auguste Delâtre as his printer and began to try out titles. The first was Treize eaux-fortes d'après nature; then Doux Eaux Fortes d'apres Nature (The French Set). After this first serious etching and publication venture, Whistler in fact, proved to be one of the most significant printmakers in history, his influence visible in many of his follower’s work. |
