We got an email recently from one of our favorite active Lowellians, Jack Moynihan, wondering: had we ever written about the Whistler House Museum? With the exception of an early post about a Parker Lecture, somehow no, we haven’t!
So, thanks to Jack, we paid a special visit to the Whistler House with our blogging goggles on. It was an especially good refresher for me, because I haven’t visited since I started working for the National Park, and visitors often want to know what you can see at the Whistler House. Short answer: art with a local connection. The collection focuses on art representational art, and it is strongest in the 1800s and early 1900s. Almost the entire collection has a Lowell or New England connection: the art could be by a local artist, or depicting local scenes and people, or collected by local people. Jack led us on a tour of the house, talking about the works and their history.
We believe art is both individual and communal: pieces speak differently to different people, but talking about art allows us to understand the artist, the subject, and each other better. In that spirit, we’re sharing both of our reactions, and would love to hear yours in the comments:
Aurora: My personal favorites are the pieces that connect to Lowell’s history. I’ve often enjoyed looking at the reproduction of this almost bucolic scene of Lowell in its early factory days at the Boott Cotton Mills Museum, so its fun to see the real thing. There are several paintings that interpret Lowell and the surrounding countryside.
Chris: A true-to-scale reproduction of Whistler’s most famous painting in the “Francis Room” of the house feels heavy and dark like the portraits of “important men” throughout the museum. However, Jack revealed that the original painting wasn’t so dark. In 1906, when Whistler’s cousin made the copy, the original had deteriorated. A small photo of the original next to the copy shows how the original had since been restored to its intended, brighter look. The copy remains an artifact showing how millions of people saw the painting and moved me to reflect on the ephemeral and perceptional nature of what we consider “great.”
For those hoping to catch a glimpse of famous artwork, the Whistler House can provide. The detail of Whistler’s expressive etchings on display on the second floor dazzled us, and John Singer Sargent’s sketch showed his process for the stunning Boston Public Library mural.
There’s always some overlap between an art museum and a history museum, but at Whistler House the Venn Diagram is almost just a circle. Once again, different elements spoke to us differently:
Aurora: Of course the house is the birthplace of James McNeil Whistler, an innovative artist most popularly famous for painting a dour portrait of his mother. But art history is bound up tightly with our city’s history, because Whistler the artist was the son of Whistler the engineer, an important figure in his own right. A master engineer of his historical moment, George Washington Whistler designed railroads, canals, and aqueducts, and trains. That’s not the end of the history connection, either. The building actually was home to several generations of notable engineers, including inventor Paul Moody and “Chief of Police of the Water” James B. Francis.
Chris: It’s notable that the house has been the home of the Lowell Art Association since 1908. The permanent collection represents what the art association found interesting, what it was given, what it strove to collect over the years since its start in 1878. Walking through the halls of the museum is like walking through the historic tastes of art enthusiasts and experts of generations of Lowellians.
The building itself has been restored and maintained by the Art Association and is beautiful in its own right.
Making Art and History
One especially neat thing the Whistler House does is feature an artist-in-residence. If you’ve spent any time at all in Lowell’s galleries, you’ve probably seen Dave Drinon’s work. He paints New England landscapes and cityscapes, and his work is often at the Brush Gallery, and he’s a Western Ave artist as well. I realized when I got home why his work looked so familiar: we have a magnet with one of his Lowell scenes on our fridge. He is helping organize a group of artists who will paint on the streets during the next Folk Festival.
Their changing exhibits are often worthwhile and interesting, and I especially recommend the current one. “Pursuing Justice Through Art: 2015” is the second annual exhibition dealing with genocide, culminating in a symposium happening Saturday the 18th starting at 1pm. If you haven’t been to the Whistler House before (or lately) this would be an excellent time to visit. The exhibit is moving and thought-provoking, with some works that are disturbing, others deeply sad, and some that suggest healing and peace. It reminded me of the expression that art should “comfort the disturbed and disturb the comfortable”.
The Whistler House is also a participating in Downtown’s “First Thursdays” initiative, a collaboration of museums and businesses for special events, discounts, and later hours designed to grow the downtown scene. Chris and I have enjoyed this series, and the Whistler has been an active participant, hosting lectures and music.
We imagine a number of our readers have never ventured to the Whistler House, but there really does seem to be something for everyone! A visitor from another blog put it well: “After all, where else could you see Whistler’s father?” It’s open Wednesday through Saturday, 11 am to 4 pm, on Worthen Street in Lowell.
The number of Lowell institutions we’ve never written a post about should in theory be getting shorter, but there always seem to be new things to write about, and our stack of “we should write a post about this” ideas just seems to get longer. If we’ve never written about your favorite Lowell stuff and you’re wondering why, the answer is that probably nobody has given us a gentle shove in that direction yet. Let us know!
Images from “Pursuing Justice through Art: 2015”
The works are from both local and out-of-town artists.