File:Life of James McNeill Whistler, (1911) (14597087297).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

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n, and had the support of the most distinguished men of hisprofession throughout the world. Their choice of him was an acknow-ledgment of his supremacy as artist and an expression of confidencein him as leader, and he took no less pleasure in their tribute thantrouble not to disappoint their expectations. His experience withthe British Artists was a help in constituting the Society. The soleauthority rested with the Executive Council, the members of whichelected themselves and could not be got rid of except by their voluntaryresignation or expulsion. Theoretically the idea was magnificent, ifthe narrowest and most autocratic. Napoleon and I do these things,Whistler said, and Suffolk Street had taught him that an intelligentautocrat is the best leader possible. His policy, if autocratic, wasbroad. In most societies painting held a monopoly, but, in his,sculpture and graving should have equal importance. All hisrules were far-seeing and practical, and the decline of the Society368 (1898
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STUDY IN BROWN OIL In the possession of the Baroness de Meyer (See page 355) The International since his death is due to the disregard of them : a disregard whichhis associates still on the Council who are true to his memory cannotprevent—or forget. The first exhibition was opened in May 1898. The Skating Rinkat Knightsbridge was divided into three large and two small galleries.Whistlers scheme of decoration was adopted, and the hanging wasmore perfect than any up to that time even on the Continent. ThePresidents velarium, without question of patent, was used, and hedesigned the seal for the Society and the cover of the catalogue. Theartistic success of the show could not be questioned. No such collectionof modern art had been seen in London, a proof that Whistler was asbroad as the painters and the populace were sure he was narrow. The Why drag in Velasquez ? story is often quoted by the ignorantand the foolish and the stupid. In this Exhibition he dragged in every-one of eminence,

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