File:Life of James McNeill Whistler, (1911) (14597034067).jpg

Identifier: jamesmcnei00penn (find matches)
Title: Life of James McNeill Whistler,
Year: 1911 (1910s)
Authors: Pennell, Elizabeth Robins,
Subjects: American Art
Publisher: J. B. Lippincott company
Contributing Library: Whitney Museum of American Art, Frances Mulhall Achilles Library
Digitizing Sponsor: Metropolitan New York Library Council - METRO

View Book Page: Book Viewer
About This Book: Catalog Entry
View All Images: All Images From Book
Click here to view book online to see this illustration in context in a browseable online version of this book.

Text Appearing Before Image:
scarcely be mentioned as an etcher without this comparison;since Rembrandt his were the most striking and original etchings,everyone then said, Mr. W. M. Rossetti being among the first in Englandto say it boldly. Alone with the Tide was approved as u perfectlyexpressed, and The Twenty-fifth of December as broad and vigorous,though perhaps vigour was pushed over the bounds of coarseness tobecome mere dash. Other work he showed elsewhere was praised.The Punt and Sketching, published in Passages from Modern EnglishPoets, were singled out for admiration. Thames Warehouses and BlackLion Wharf won him recognition as the most admirable etcher ofthe present day, at South Kensington Museum, where in 1862 anInternational Exhibition was held. Whistler had no pictures, but thecollection of modern continental art was one of the finest ever seen inEngland. In nothing had Whistler been so completely himself as in The WhiteGirl, and it failed to please. The artist is born to pick and choose,68 (1862
Text Appearing After Image:
THE MUSIC ROOMHARMONY IN GREEN AND ROSE OIL In the possession of Colonel F. Hecker \ge 63) The Beginnings in London and group with science, the elements in Nature that the result may bebeautiful, he wrote in The Ten oClock, and The White Girl was hisfirst attempt to conform to a principle no one ever put so clearly intowords. It was an attempt, we know now, comparing the paintingto the symphonies and harmonies that came after. But at the time itwas disquieting in its defiance of modern conventions. It was withoutsubject according to Victorian standards, and the bold massing ofwhite upon white was more bewildering than the minute detail of thePre-Raphaelites. This summer (1862) the Berners Street Gallery wasopened, with the avowed purpose of placing before the public theworks of young artists who may not have access to the ordinarygalleries. Maclise, Egg, Frith, Cooper, Poynter forced their wayin. But the manager had the courage to exhibit The White Girl,stating in the catalogue that t

Note About Images