Salute Dawn |  Art Institute of Chicago (1972.428) | |
| Number: | 207 | |
| Date: | 1879/1880 | |
| Medium: | etching and drypoint | |
| Size: | 127 x 204 mm | |
| Signed: | butterfly at left | |
| Inscribed: | no | |
| Set/Publication: | 'Second Venice Set', 1886 | |
| No. of States: | 4 | |
| Known impressions: | 32 | |
| Catalogues: | K.215; M.212; W.185 | |
| Impressions taken from this plate (32) | ||
KEYWORD
cathedral, church, customs-house, dawn, gondola, lagoon, palace, panorama, quay, sailing ship, ship.
TITLE
Variations on the title are as follows:
Possibly 'Venice dawn' (1882, Whistler). 1
'Salute Dawn' (1883, F.A.S.). 2
'Venice Dawn' (1886?, Whistler). 3
'Salute: Dawn' (1886, Frederick Wedmore (1844-1921)). 4
'La Salute Dawn' (1887, Whistler). 5
'La Salute au point du jour. - (Salute. Dawn)' (1905, Paris). 6
'La Salute: Dawn' (1909, Howard Mansfield (1849-1938)). 7
There is a problem with differentiating the several subjects that show Santa Maria della Salute at all times of the day, such as this print, Little Salute [210] and Nocturne: Salute [203]. There is also the problem that 'Salute' has a meaning and sounds quite different in English compared to Italian. It is possible that Whistler meant the title to have the double association, and that the etching is a salute to dawn as well as a panorama centering on the distant church. For this reason, the original title, 'Salute Dawn', is preferable.
Possibly 'Venice dawn' (1882, Whistler). 1
'Salute Dawn' (1883, F.A.S.). 2
'Venice Dawn' (1886?, Whistler). 3
'Salute: Dawn' (1886, Frederick Wedmore (1844-1921)). 4
'La Salute Dawn' (1887, Whistler). 5
'La Salute au point du jour. - (Salute. Dawn)' (1905, Paris). 6
'La Salute: Dawn' (1909, Howard Mansfield (1849-1938)). 7
There is a problem with differentiating the several subjects that show Santa Maria della Salute at all times of the day, such as this print, Little Salute [210] and Nocturne: Salute [203]. There is also the problem that 'Salute' has a meaning and sounds quite different in English compared to Italian. It is possible that Whistler meant the title to have the double association, and that the etching is a salute to dawn as well as a panorama centering on the distant church. For this reason, the original title, 'Salute Dawn', is preferable.
1: Whistler to T. McLean, 28 August 1882, GUW #13643.
2: London FAS 1883 (cat .no. 49).
3: List of 'Venice 2nd Series', [1877-1903], GUW #13088.
4: Wedmore 1886 A (cat. no. 185).
5: Whistler to W. Dowdeswell, [16 July 1887], GUW #08717.
6: Paris Mem. 1905 (cat. no. 376).
7: Mansfield 1909 (cat. no. 212).
DESCRIPTION
A view of Venice, looking across a broad expanse of water, with a gondola in the middle distance, to left of centre. San Marco and the bell-tower are seen to left, with a tall-masted sailing ship at the quayside to right. Two- to four-storeyed buildings line the quayside, and two more bell-towers rise behind. The church of Santa Maria della Salute is seen in the distance, to right of centre, with the church of San Giorgio to right.
SITE
Panorama: San Giorgio, Santa Maria della Salute and the Doge's Palace.
Photograph © M.F.MacDonald, Whistler Etchings Project, 2010.
A panoramic view of the city of Venice, Italy. It includes, at left, the domes of the cathedral of San Marco, and the Doge's Palace in front of the bell-tower; buildings along the Riva degli Schiavoni; just to right of centre, the entrance to the Grand Canal, with the church of Santa Maria della Salute, and then the entrance to the Giudecca Canal. At right is the church and tower of San Giorgio. The view was as usual reversed in the printing. 8
8: Grieve 2000, pp.139, 140.