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Updated: June 29, 2025
Instead of joining in Whistler's search for pure pattern they fixed their attention on facts alone, or rather on one aspect of the facts, and in their occupation with light and the manner of representing it they abandoned form almost as completely as they had abandoned significance and beauty.
Very often the faces in Mr. Whistler's portraits are the least interesting part of the picture; his sitter's face does not seem to interest him more than the cuffs, the carpet, the butterfly, which hovers about the screen. After this admission, it will seem to many that it is waste of time to consider further Mr. Whistler's claim to portraiture. This is not so. Mr.
The pen sketch referred to of the girl by the window, the soft shadow outlining her face and falling upon the chair, the play of the line that suggests the contour of her figure, all reveal something of the refined skill, economy, and sensitiveness of expression that distinguished everything of Whistler's.
A flippant reply to the secretary of a London club where Whistler's account was past due produced this retort and the money was paid: "DEAR MR. WHISTLER: It is not a Nocturne in Purple or a Symphony in Blue and Gray we are after, but an Arrangement in Gold and Silver." At an exhibition at the Academy of Fine Arts there was a portrait in subdued colors by Whistler, "The Little Lady of Soho."
He shut his eyes, tried to imagine her, to see her before him with snow-white hair, a face perhaps etherealized by knowledge of life and suffering; once he even called up the most perfect picture of old age he knew of the portrait of Whistler's mother, calm, dignified, gentle, at peace, with folded hands; but his efforts were in vain; he simply could not see his Rosamund old.
Here is a collection of Whistler's etchings and lithographs, with a few drawings. The distinguishing quality is an exquisite delicacy. Gallery 30-Historical Prints. In this room one can trace the development of American engraving and etching from the beginnings to the present day.
* Ethwald. In short, as Donacha Dhu said, the Whistler was a born imp of Satan, and therefore he should never leave him. Accordingly, from his eleventh year forward, he was one of the band, and often engaged in acts of violence. The last of these was more immediately occasioned by the researches which the Whistler's real father made after him whom he had been taught to consider as such.
Others bark like `toy-dogs, while still other kinds utter a whistling noise, from which one species derives its trivial name of `whistler' among the traders, and is the `siffleur' of the Canadian voyageurs. "The `whistler's' call of alarm can be heard at a great distance; and when uttered by the sentinel is repeated by all the others as far as the troop extends.
An exquisite talent like Whistler's, whether in painting or in writing, is always at its best on a small scale. On a large scale it strays and is distressed. Thus the 'Ten o'Clock, from which I took that passage about the evening mist and the riverside, does not leave me with a sense of artistic satisfaction. It lacks structure. It is not a roundly conceived whole: it is but a row of fragments.
Whistler, of all artists, is the least impressionist; the idea people have of his being an impressionist only proves once again the absolute inability of the public to understand the merits or the demerits of artistic work. Whistler's art is classical; he thinks of nature, but he does not see nature; he is guided by his mind, and not by his eyes; and the best of it is he says so.
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