From London to Venice
Whistler & Masuyama
April 26 to July 5, 2026
Kunstforum Ingelheim – Altes Rathaus
After more than 25 years, an exhibition in Germany is once again dedicated to the American artist James McNeill Whistler (1834–1903).
He is considered one of the most innovative, influential, and important graphic artists of the 19th century.
The focus of our exhibition is on Whistler’s etchings and lithographs, which show views of London and Venice, as well as depictions of people from his immediate circle.
The connection to the present is made by new photographic works by Hiroyuki Masuyama, which the Japanese artist created specifically for this exhibition and can be seen in the vicinity of Whistler’s originals.
London
In 1859, Whistler settled in London and created graphics there that tell, in particular, of life and work on the Thames. However, the Londoner by choice also traveled to many countries, stayed longer in various European cities, and was therefore a well-connected artist.
James McNeill Whistler
The Thames, 1896
Lithograph
Hamburger Kunsthalle
© Hamburger Kunsthalle / bpk (Photo: Julia Bau)
Inspiration Japan
Like most Impressionist artists, Whistler also engaged with Japanese woodcuts: their image structure and style demonstrably influenced many of his works, which is why selected examples of renowned Japanese woodcut artists flank his graphics.
Utagawa Hiroshige
The Samezu Coast near Minami-Shinagawa, 1857
Woodcut
Museum für Kunst und Gewerbe Hamburg
Venice
From 1879, he lived for several months in Venice, where views of the lagoon city or depictions of everyday life were created. For this, he often chose the view from the water side.
James McNeill Whistler
The Balcony, 1879/80
Etching and drypoint
Hamburger Kunsthalle
© Hamburger Kunsthalle / bpk (Photo: Christoph Irrgang)
London
In 1859, Whistler settled in London and created graphics there that tell, in particular, of life and work on the Thames. However, the Londoner by choice also traveled to many countries, stayed longer in various European cities, and was therefore a well-connected artist.
Inspiration Japan
Like most Impressionist artists, Whistler also engaged with Japanese woodcuts: their image structure and style demonstrably influenced many of his works, which is why selected examples of renowned Japanese woodcut artists flank his graphics.
Venice
From 1879, he lived for several months in Venice, where views of the lagoon city or depictions of everyday life were created. For this, he often chose the view from the water side.
James McNeill Whistler
The Thames, 1896
Lithograph
Hamburger Kunsthalle
© Hamburger Kunsthalle / bpk (Photo: Julia Bau)
Utagawa Hiroshige
The Samezu Coast near Minami-Shinagawa, 1857
Woodcut
Museum für Kunst und Gewerbe Hamburg
James McNeill Whistler
The Balcony, 1879/80
Etching and drypoint
Hamburger Kunsthalle
© Hamburger Kunsthalle / bpk (Photo: Christoph Irrgang)
Context
For the art historical contextualization of his oeuvre, the works are also sporadically accompanied by graphics of his contemporaries and companions:
Works by Seymour Haden, Joseph Pennell, Frank Short as well as Édouard Manet, Camille Pissarro or Marcellin Desboutin reveal Whistler as an essential source of inspiration, but can also show the mutual inspiration.
Hiroyuki Masuyama
For our exhibition in late summer 2025, Hiroyuki Masuyama (*1968) sought out exactly the locations in London and Venice from which Whistler made the preliminary drawings for his graphics.
In the new works, Whistler’s city and harbor scenes were superimposed with photographs of the current situation. For this, Masuyama first converted his color photographs into black and white, then mirrored them, and finally embedded Whistler’s graphics into the photos in the correct places.
In this way, past and present are skillfully merged. Depending on the motif, the transition can be sensual-harmonious, but also contradictory.
Masuyama’s overarching theme of »Time, Space, Change« is impressively experienced not only in his new works, but also through a selection of older, large-format works.
Making of: after Whistler San Giorgio (1879/80), 2025, digital photography on paper, 43 x 83 cm © Hiroyuki Masuyama
Making of: after Whistler San Giorgio (1879/80), 2025, digital photography on paper, 43 x 83 cm © Hiroyuki Masuyama
Events
A varied accompanying program of expert-led tours, lectures, workshops, etc. will once again round off this exhibition.
