File:Life of James McNeill Whistler, (1911) (14783555905).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:
n Paris in 1856,when Bracquemond discovered Japan in a little volume of Hokusai,used for packing china, and rescued by Delatre, the printer. Itpassed into the hands of Laveille, the engraver, and from himBracquemond obtained it. After that, Bracquemond had the bookalways by him; and when in 1862 Madame Desoye, who, with herhusband, had lived in Japan, opened a shop under the arcades of theRue de Rivoli, the enthusiasm spread to Manet, Fantin, Tissot, Jacque-mart and Solon, Baudelaire and the De Goncourts. Rossetti wassupposed to have made it the fashion. But the fashion in Paris beganbefore Rossetti owned his first blue pot or his first colour-print.Whistler brought the knowledge and the love of the art to London. It was he who invented blue and white in London, Mr. MurrayMarks assures us, and Mr. W. M. Rossetti is as certain that his brotherwas inspired by Whistler, who bought not only blue and white, butsketch-books, colour-prints, lacquers, kakemonos, embroideries, screens.84 (1863
Text Appearing After Image:
* z W - Chelsea Days In his house in Chelsea, facing Battersea Bridge, Mr. Severn writes, he had lovely blue and white, Chinese and Japanese. The onlydecorations, except the harmony of colour, were the prints on the walls,a flight of Japanese fans in one place, in another shelves of blue andwhite. People, copying him, stuck up fans anywhere, and hung platesfrom wires. Whistlers fans were arranged for colour and line. Hisdecorations bewildered people even more than the work of the newfirm of Morris, Marshall, Faulkner and Co. The Victorian artistcovered his walls with tapestry, filled his studio with costly things,and made the public measure beauty by price, a fact overlooked byWhistler, but never by Morris. Rossetti joined in the hunt for blue and white. Henry Treffy Dunn,in his Recollections of Rossetti, whose assistant he was, writes that Rossettiand Whistler each tried to outwit the other in picking up the choicestpieces of blue to be met with ; that both were for ever hunting forF

Note About Images