This is a fine overview of this 19th century American artist who spent most of his time in the United Kingdom and France. His New England roots, very prominent in Whistler's Mother, always shine through. I love Whistler's Peacock Room, which during my two visits to its present location in the Freer Art Gallery in Washington, D.C., has always been empty of visitors. Perhaps I picked a lucky time to visit. I also prefer the room emptied of most of the porcelain it currently features in its overstuffed reenactment of early 20th century bad taste. A return to the artist's conception instead of that of its fat cat owner would be welcome. As they threaten to keep this installation up until 2013, I fear I can't help seeing it in its present state during my next visit.

Whistler's Nocturnes and landscapes look very Turneresque to me. It is strange that John Ruskin, who was a major Turner fan in his youth, though age cooled his ardor, reacted so negatively to them then. The trial made a big splash, confirming Whistler's status as an enfant terrible and dandy. The rich people he portrayed in his paintings do not look very happy. Perhaps one reason why many preferred his colleague John Singer Sargent. One day I will finish reading his wonderfully titled book "The Gentle Art of Making Enemies" (that unfortunately does not fulfill its titular aspirations). ( )