The Coast of Brittany (aka Alone with the Tide) - James McNeill Whistler
Archival giclée
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Description
James McNeill Whistler's "The Coast of Brittany (aka Alone with the Tide)" captures a serene coastal scene with a woman resting on a rocky beach, painted in muted tones with loose brushwork, reflecting Whistler's early realist style.
Painted in 1861, James McNeill Whistler's "The Coast of Brittany", also known as "Alone with the Tide", presents a tranquil coastal scene. Whistler, an American artist who spent much of his career in Europe, is known for his atmospheric and tonalist paintings. This work exemplifies his early realist style, before his later, more abstract compositions. The painting depicts a woman resting on a rocky beach. The composition is divided horizontally, with the sky and sea occupying the upper portion and the sandy beach and rocks dominating the lower half. The colour palette is muted, with sandy yellows, browns, and blues creating a sense of calm. The woman, dressed in dark clothing and a white bonnet, reclines against a large rock, seemingly lost in thought or sleep. The rocky coastline stretches into the distance, meeting the sea under a cloudy sky. The brushwork is loose and expressive, capturing the textures of the sand and rocks. Whistler's signature is visible in the lower left corner, along with the date.
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Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
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Specific Features
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Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
The Coast of Brittany (aka Alone with the Tide) - James McNeill Whistler
Artist Biography
James Mcneill Whistler
He was born in 1834 in Lowell, Massachusetts. His father, a civil engineer, took the family to St Petersburg to advise on the railroad to Moscow. The young Whistler took drawing classes at the Imperial Academy of Sciences. After the West Point disaster, he briefly worked for the US Coast and Geodetic Survey, learning the etching techniques he would use for the rest of his career, then left for Paris. He never lived in America again.
The painting everyone knows as Whistler's Mother is actually called Arrangement in Grey and Black No. 1. He named his works with musical terms (Nocturnes, Arrangements, Harmonies, Symphonies) to insist that painting was about tonal composition, not subject matter. The painting of his mother was about grey and black. That it also depicted his mother was, in principle, secondary.
In 1877, John Ruskin reviewed his Nocturne in Black and Gold: The Falling Rocket and wrote that he never expected to hear a coxcomb ask two hundred guineas for flinging a pot of paint in the public's face. Whistler sued for libel. The case was heard over two days in November 1878. He won, and was awarded damages of one farthing, the least valuable coin in the realm. The legal costs bankrupted him.
He signed his work with a butterfly. It started as a monogram inspired by the potter's marks on Chinese ceramics he collected, gradually evolving into an abstract butterfly shape. Around 1880, he added a stinger to it, representing both the delicate and the combative sides of his personality. The Peacock Room, his masterpiece of decorative art, extended his obsession with total harmony from a single painting to an entire architectural space.
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