Daniel E. Sutherland is Distinguished Professor of History Emeritus at the University of Arkansas. He is the author or editor of sixteen books, including Whistler: A Life for Art's Sake and Whistler's Mother: Portrait of an Extraordinary Life.

“To this reviewer at least, the beating heart of Whistler’s Legacy lies not in the polemical parts but in the book’s central chapter on the science behind Whistler’s nocturnes. Here, Sutherland cuts through the noise, created in part by Whistler himself, and shows how the painter, fully aware of what pollution had done to the skies over London, captures the quiet nuances of a fog-shrouded evening: the moment when, with the light almost gone, the bridges and buildings of the sooty city fade, and the water and the sky and the people appear to become one.”—Christoph Irmscher The Art Newspaper

Daniel E. Sutherland is Distinguished Professor of History Emeritus at the University of Arkansas. He is the author or editor of sixteen books, including Whistler: A Life for Art's Sake and Whistler's Mother: Portrait of an Extraordinary Life.

“To this reviewer at least, the beating heart of Whistler’s Legacy lies not in the polemical parts but in the book’s central chapter on the science behind Whistler’s nocturnes. Here, Sutherland cuts through the noise, created in part by Whistler himself, and shows how the painter, fully aware of what pollution had done to the skies over London, captures the quiet nuances of a fog-shrouded evening: the moment when, with the light almost gone, the bridges and buildings of the sooty city fade, and the water and the sky and the people appear to become one.”—Christoph Irmscher The Art Newspaper

Daniel E. Sutherland is Distinguished Professor of History Emeritus at the University of Arkansas. He is the author or editor of sixteen books, including Whistler: A Life for Art's Sake and Whistler's Mother: Portrait of an Extraordinary Life.

“To this reviewer at least, the beating heart of Whistler’s Legacy lies not in the polemical parts but in the book’s central chapter on the science behind Whistler’s nocturnes. Here, Sutherland cuts through the noise, created in part by Whistler himself, and shows how the painter, fully aware of what pollution had done to the skies over London, captures the quiet nuances of a fog-shrouded evening: the moment when, with the light almost gone, the bridges and buildings of the sooty city fade, and the water and the sky and the people appear to become one.”—Christoph Irmscher The Art Newspaper