DECEMBER, 1907 WHISTLER PRICE, 15 CENTS anxa 88-B 763 WHISTLER PART 96 VOLUME 8 jBate^anNiuiltKIompany, MASTERS IN ART A SERIES OF ILLUSTRATED MONOGRAPHS: ISSUED MONTHLY PART 96 DECEMBER VOLUME 8 CONTENTS Plate I. At the Piano Plate II. The Little White Girl Plate III. La Princesse du Pays de la Porcelaine Plate IV. Portrait of Pablo Sarasate Plate V. Portrait of Rose Corder Plate VI. Portrait of the Artist's Mother Plate VII. Portrait of Thomas Carlyle Plate VIII. Portrait of Miss Alexander Plate IX. The Fire-wheel Plate X. Twilight, Valparaiso Portrait of Whistler by Himself : Property of G. W. Vanderbilt The Life of Whistler The Art of Whistler Criticisms by Wedmore, and The Works of Whistler : Descriptions of the Plates Whistler Bibliography Photo-engravings by Suffolk Engraving and Electrotyping Co, : A complete index for previous numbers will be found in the Reader's Guide Way and Dennis and a List of Paintings Property of E. Davis Property of A. H. Studd Property of C. L. Freer Carnegie Institute, Pittsburgh Property of R. A. Canfield Luxembourg, Paris Museum, Glasgow Property of W. C. Alexander Property of A. H. Studd Property of G. Robertson Page 22 Page 23 Page 29 Page 34 Page 41 Boston. Press-work by the Everett Press: Boston to Periodical Literature, which may be Consulted in any library PUBLISHERS' ANNOUNCEMENTS SUBSCRIPTIONS : Yearly subscription, commencing with any number of the current calendar year, $1.50, payable in advance, postpaid to any address in the United States. To Canada, $1.75 ; to foreign countries in the Pos- tal Union, $2.00. As each yearly volume of the magazine commences with the January number, and as indexes and bindings are prepared for complete volumes, intending subscribers are advised to date their subscriptions from Jan- uary. Single numbers of the current year, 15 cents each. Single numbers prior to the current year, 20 cents each. 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In answering advertisements, please mention Masters in Art MASTERS IN ART Among the artists to whom numbers will be devoted during 1908 are Sir Frederick Leighton, Nicholas Maes, El Greco, Manet, Bordone, Crivelli, and probably Hokusai. The numbers of ' Masters in Art' which have already appeared in 1907 are : Part 85, January, Sir Thomas Lawrence ; Part 86, February, Jacob van Ruisdael; Part 87, March, Filippino Lippi; Part 88, April, La Tour; Part 89, May, Signorelli; Part 90, June, Masaccio; Part 91, July, Teniers; Part 92, August, Tiepolo ; Part 93, September, Delacroix ; Part 94, October, Jules Breton ; Part 95, November, Rousseau. PART 97, THE ISSUE FOR ^anuarp, 1908 WILL TREAT OF NUMBERS ISSUED IN PREVIOUS VOLUMES OF 'MASTERS IN ART Part 1. Part 2. Part 3. Part 4. Part 5. Part 6. Part 7. Part 8. Part 9. Part 10. Part 11. Part 12. VOL. 1. VAN DYCK TITIAN VELASQUEZ HOLBEIN BOTTICELLI REMBRANDT REYNOLDS MILLET GIOV. BELLINI MUR1LLO FRANS HALS RAPHAEL VOL. 2. Part 13. 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COPLEY Part 61. WATTS Part 62. PALMA VECCHIO Part 63. MADAME VIGEE LE BRUN Part 64. MANTEGNA Part 65. CHARDIN Part 66. BENOZZO GOZZOL1 Part 67. JAN STEEN Part 68. MEMLINC Part 69. CLAUDE LORRAIN Part 70. VERROCCHIO Part 71. RAEBURN Part 72. FRA FILIPPO LIPPI VOL. 7. VOL. 8. Part 73. Part 74. Part 75. Part 76. Part 77. Part 78. Part 79. Part 80. Part 81. Part 82. Part 83. Part 84. JANUARY FEBRUARY MARCH APRIL MAY . JUNE JULY AUGUST SEPTEMBER OCTOBER NOVEMBER DECEMBER STUART DAVID BOCKLIN SODOMA CONSTABLE METSU INGRES WILKIE GHIRLANDAJO BOUGUEREAU . GOYA . FRANCIA Part 85. Part 86. Part 87. Part 88. Part 89. Part 90. Part 91. Part 92. Part 93. Part 94. Part 95. Part 96. JANUARY FEBRUARY MARCH APRIL MAY JUNE JULY AUGUST SEPTEMBER OCTOBER NOVEMBER DECEMBER LAWRENCE VAN RUISDAEL FILIPPINO LIPPI LA TOUR SIGNORELLI . MASACCIO TENIERS TIEPOLO DELACROIX JULES BRETON . ROUSSEAU . WHISTLER ALL THE ABOVE NAMED ISSUES ARE IN STOCK with the exception of Parts 27 and 28, and can be immediately delivered. The above two parts are temporarily out of stock, but are being reprinted. Prices on and after January 1, 1908: Single numbers of back volumes, 20 cents each. Single numbers of the current, 1908, volume, 15 cents each. Bound volumes 1, 2, 3, 4, 5, 6, 7, and 8, containing the parts listed above, bound in brown buckram, with gilt stamps and gilt top, $3.75 each ; in green half- morocco, gilt stamps and gilt top, $4.25 each. Postage to Canada, 25 cents additional per 12 numbers In answering advertisements, please mention Masters in Art MASTERS IN ART PLATE II [ 4(37 ] WHISTLER SYMPHONY IX WHITE. NO. 2 ' THE LITTLE WHITE GIRL > PROPERTY" OF A. H. STUDD Digitized by the Internet Archive in 2015 https://archive.org/details/whistlerOOunse MASTERS 1ST ART PLATE III [469] WHISTLER ARRANGEMENT IN ROSE AND SILVER • LA PRINCESSE DU PATS DE LA PORCELAINE ' PROPERTY OF C. L. FREER MASTERS IN AHT PLATE IV WHISTLER [471] ARRANGEMENT IN BLACK ' PORTRAIT OF PABLO SARASATE ' CARNEGIE INSTITUTE, PITTSBURGH MASTERS IN AET PLATE VII [ 477] WHISTLEK AEEANGEMEKT IX GEAT AND BLACK ' PORTRAIT OF THOMAS CAELTLE' MUSEUM, GLASGOW MASTERS IN ART PLATE VIII [479] WHISTLER PORTRAIT OF MISS ALEXANDER PROPERTY OF W. C. ALEXANDER PORTRAIT OF WHISTLER BT HIMSELF OWNED BY GEORGE W. VANDERBIIT This portrait belongs to the later years of Whistler, and represents him, so M. Leonce Benedite writes, "as the greater part of those of his friends who still remain remember him : the monocle at his eye, the hair curled upon the forehead, whence emerges the famous white lock, the rosette of the Legion of Honor gleaming discreetly but haughtily in his buttonhole, the countenance open, smiling, and cunning, with an expression which remains malicious and combative. In the warm penumbra of its harmony, 'brown and gold,' he breathes the inner contentment of the satisfied artist. One feels that it is painted in a state of happiness, following the return of approval, so unjustly with- held from him in England, and painted in the years after his marriage; we can call it the portrait of the true Whistler." [ 484] MASTERS IN ART 3amcs HMwtt ittcJlcill Wtystkt BORN 18 3 4: DIED 1903 AMERICA is proud in claiming to be the birthplace of one of the great- k. est geniuses of our time, James Abbott McNeill Whistler. Very little of his childhood even was spent here, however, and at the age of twenty-one he left his native country to study art in Paris, residing there and in London the rest of his life, and never again revisiting his native land, though he is said to have expressed the wish to return. As George Moore writes: "Mr. Whistler has shared his life equally between America, France, and England. He is the one solitary example of cosmopolitanism in art, for there is nothing in his pictures to show that they come from the north, the south, the east, or the west." On his father's side he was descended from the Irish branch of an old English family, his grandfather, Major John Whistler, emigrating to this country in the early part of the last century. His father was Major George Washington Whistler of the United States army, who won renown as an engi- neer, and after assisting at the building of railroads in this country, was called to Russia by Czar Nicholas, in 1842, to construct the railroad between Moscow and St. Petersburg. He was married twice. One of the three chil- dren of the first marriage became Lady Haden, the wife of the distinguished surgeon and etcher, Sir F. Seymour Haden. For his second wife Major George Whistler married Miss Anna Matilda McNeill, of an old Southern family from Wilmington, N. C. James was the oldest of five children by this marriage. It is now known for a certainty that James Abbott, as he was christened, was born in Lowell, Massachusetts, on July 10, 1834, although he himself gave as his birthplace at one time Baltimore, and at another St. Petersburg, whimsically claiming that a man had a right to change his civil estate and that the place of one's birth was a mere accident. When his father emigrated to St. Petersburg, in 1842, he took his family with him, and here he remained until his death, in 1849; thus part of the boyhood of the young James was passed in the Russian capital, where he learned French, which stood him in such good stead a few years later. Upon the death of Major Whistler his widow returned to America, and James entered West Point in 1851, intending to take up the career of his father, and it was prob- [485] 24 MASTERS IN ART ably because of his father's record that the fact of the son's small stature was overlooked. But the temperament and independence of spirit of the young man could not brook the discipline of military life, and it is as well perhaps that in 1854 he was discharged for deficiency in chemistry. He was con- sidered the best draftsman in his class, and readily obtained a position in the Coast Survey Department at Washington. He remained here only three months and five days; for, being sent to engrave some charts showing the coast line as seen from the sea, he sketched some heads in the margin of the plate, and when it was dipped in acid in his absence, and the sketches were brought to light, he incurred the anger of the head of the department and brought about his own dismissal. The next year, 1855, as we have already noted, he left America to study art in Paris, and about this time added his mother's name, McNeill, to his own Christian name. He entered the studio of Gleyre, one of the most celebrated teachers of the time. Though not in sympathy with this romanticist, he remained here two years, which with the instruction in drawing at West Point comprised the whole of his art training. For associates and friends he had such young artists as Degas, Bracquemond, Legros, Ribot, and especially Fantin-Latour. The first known oil-painting by Whistler is a youthful portrait of himself painted in these student days of 1857 or 1858, known as the 'Portrait with the Hat,' conceived much in the style of Rembrandt. His debut was really made in etching, in the charming series known to collectors as the 'Little French Set,' which included some work done in a trip to Alsace with Legros, and some earlier plates, representing the popular life of the day in Paris, as 'The Rag-picker,' 'The Mustard-seller,' 'The Kitchen,' 'The Supper at Three Sous,' and portraits of his sister's children, Annie and Arthur Haden. These were published by Delatre, in 1858, at fifty francs a set. In 1859 he sent his first picture to the Salon, entitled 'At the Piano' (Plate 1), which was refused, but exhibited the next year at the Royal Academy, and bought by John Phillip, R. A., the painter of Spanish subjects. During the next few years he travelled back and forth between Paris and London, visited Holland, and got as far as Biarritz on an anticipated visit to Madrid to see the portraits there by Velasquez. He painted such pictures as the 'Coast of Brittany,' the 'Blue Wave, Biarritz,' the 'Building of West- minster Bridge,' and 'The Thames in Ice,' which show the influence of Courbet, with whom he was an intimate friend at this time and in whose company he spent two summers at Trouville. These, however, are not characteristic of Whistler's art as a whole. It was in 1863 that he sent to the Salon a truly original work, 'The White Girl,' to which later he attached the further title of 'Symphony in White, Number One.' Although refused here, it was exhibited at the 'Salon des Refuses' and created a sensation. Whistler had come into his own, had declared himself, and henceforth began his fame as an artist and his years of controversy with the French and British public. 'The White Girl' represents a beautiful young girl, dressed in a simple gown of white, her red hair falling on her shoulders, as she stands on a white fur rug, gazing earnestly at the spectator. The draperies behind her [486] WHISTLER 25 are white, and she holds a little spray of white flowers in her hand. There are no further accessories, and the picture is painted with a simplicity and tranquillity and a feeling for atmosphere which suggest Velasquez, but which are yet Whistler's own. The model was a young Irish girl, named Joe, that he and Courbet discovered at Trouville. As M. Leonce Benedite says, '"The White Girl' was the first picture to be conceived in those researches for tones upon tones which led him to that system of musical transpositions whose principles henceforth ruled all his work. It opens the series to which belong two other exquisite pictures, 'The Symphony in White, Number Two,' or 'The Little White Girl' (Plate n) — the same beautiful Joe with the red locks, a fan in her hand, leaning her elbow upon the marble mantel — and 'The Symphony in White, Number Three,' where she is still reclining upon a sofa, in company with another charming model with light hair." In 1863 Whistler definitely took up his residence in Chelsea, the first to discover its artistic possibilities, and among the English artists he made friends with Millais, Rossetti, and Albert Moore, and for a time shared a studio with Du Maurier. From time to time he made etchings of the traffic of the river, of the bridges, the old wharves and buildings, sixteen of which, known as the 'Thames Set,' were published in 187 1. They are highly prized by collectors, some preferring their greater detail to the later etchings of Venice, in which the artist had learned to eliminate everything unessential. In fact, Whistler was as great an etcher as a painter, and his fame rests equally on these exquisite little bits and upon his full-length portraits in oil. About this time Japan was discovered to be a storehouse of artistic prod- ucts. Bracquemond, the most extreme realist among Whistler's friends, by chance came into possession of a book of prints by Hokusai, and the French group of artists, of whom Whistler was one of the most ardent, became very enthusiastic over Japanese and Chinese art, and began collecting the beautiful blue-and-white china and rare old prints. In 1864 Whistler exhibited at the same time 'The Little White Girl,' at the Royal Academy, and 'La Prin- cesse du Pays de la Porcelaine' (Plate in) at the Salon. Though the subjects were European, both show in their scheme of coloring and decorative acces- sories strong Japanese influence. In fact, in this latter picture and in those of 'The Lange Leizen of the Six Marks,' 'The Golden Screen,' and 'The Balcony' Whistler somewhat literally translated the art of Japan. Later he extracted rather the essence of its feeling for decoration in line and color. Mr. Way and Mr. Dennis say, however, that "all these pictures are charac- terized by dainty charm of color, subtle and delicate gradations of light, grace and dignity of line, and withal by a distinction of style which defies exact definition. " In 1 865- 1866 Whistler made a trip to Valparaiso for his health, and two very beautiful pictures were the result, 'Twilight, Valparaiso, in Flesh-color and Green' (Plate x), and the 'Nocturne in Blue and Gold,' as well as the sea-piece, 'The Ocean.' But it was in the seventies that Whistler's art was perhaps at its high-water mark, and he painted in rapid succession those U87] 26 MASTERS IN ART three portraits, acknowledged by all art critics to be his masterpieces, the ' Portrait of his Mother ' (Plate vi),the ' Portrait of Thomas Carlyle' (Plate vn) and the 'Portrait of Miss Alexander' (Plate vm). The first was exhibited at the Royal Academy in 1872; the two latter, at a special exhibition of his work at Pall Mall in 1874. In 1877 Sir Coutts Lindsay, wishing to start the Grosvenor Gallery, consulted Whistler, who joined with him on condition that a large wall- space be reserved for the exhibition of his own work. It was at this time that he exhibited 'Irving as Philip 11. of Spain,' 'The Falling Rocket — Ar- rangement in Black and Gold,' which latter picture called forth the caustic comment from Ruskin in 'Fors Clavigera' that "For Mr. Whistler's own sake no less than for the protection of the purchaser, Sir Coutts Lindsay ought not to have admitted works into the gallery in which the ill-educated conceit of the artist so nearly approached the aspect of wilful imposture. I have seen, and heard, much of cockney impudence before now; but never expected *to hear a coxcomb ask two hundred guineas for flinging a pot of paint in the public's face." Mr. Whistler immediately sued Ruskin for a thousand pounds' damage. The trial was held in November, 1878, before Baron Huddleston and a special jury. Ruskin pleaded ill health and failed to appear, but Whistler was present and there ensued a two days' trial which held the crassness of the British public in art-matters up to ridicule and formed most amusing reading in the daily journals. The trial ended in a verdict for the plaintiff, and Ruskin was charged one farthing damages. Whistler replied in a pamphlet entitled 'Whistler vs. Ruskin, Art and Art Critics.' In 1879 and 1880 Whistler was in Venice, and upon his return exhibited at the Fine Arts Society the twelve etchings known as 'Venice, First Series;' the next year, fifty-three pastels of Venice; and in 1883, at Messrs. Dowdes- well's Galleries, fifty-one prints entitled 'Etchings and Dry Points, Second Series.' As Whistler advanced in his life his work became more abstract and ephemeral. He relied much less on the form of things than the color har- monies. As one critic says, he developed from a realist in his youth to a spiritist in his later years, endeavoring to depict the essence of facts rather than the facts themselves. He took for the titles of his pictures terms borrowed from music, as in two exhibitions at the Dowdeswell Galleries in 1884 and 1886 his pictures were grouped as 'Notes, Harmonies, and Nocturnes.' He also exhibited at the Grosvenor Galleries other nocturnes, and several portraits, including 'Miss Rose Corder' (1879) ( Plate v )> June 1, 1908 Head Instructor and Direct**- ERIC PAPE No examinations for admission to an/ ot *ue ciaafeu. Students begin by drawing from the nude and costume models, aa is done in the Paris aeademios, upon which the school is modelled. Fine, large studios. Drawing, Painting, Composition, Illustration, Decorative Design, and Pyrogravure Drawing and Painting from ;< life." Separate classes for men and women. Portraiture, Still-lite, Flower-paintingjWater-color, Pastel, Composition, Decorative Design and Painting, Practical Design for Textiles, Illustration, Pen, Wash, Gouache, Poster, and Book-cover designing. Morning, Afternoon, and Evening Classes. Scholarships and Medals. For illustrated circulars address the Secretary. Cor. Massachusetts Avenue and Boylston Street BOSTON, MASS. art flca&em? of Cincinnati ENDOWED SCHOLARSHIPS COMPLETE TRAINING IN ART Drawing, Painting, Modeling, Composition, Anatomy, Wood-carving, Decorative Design applied to Porcelain, Enamels, etc. Frank Duveneck C. J. Barnhcrn Henrietta Wilson V. Nowottny Wm. H. Fry Kate R. Miller L. H. Meakin Anna Riis W. E. Bryan F*rti$th rtmrt ttft. 33^iq07 y u May JJ, iqo8. $2J J. H. GEST, Director, Cincinnati, Ohio THE NEW YORK SCHOOL OF ART (Chase School) Winter Term : Sept. 9, 1907, to June 1, 1908 INSTRUCTORS Susan F. 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Send for folder fully describing the book, or, better still, send $2.00, read the book through, get an you can out of it in a week, then send it back if it is not worth more than $2. ro to have for reference. We will refund your money. .'.1.1 1 -n-j cassasBsac BATES AND GUILD CO., Publishers BOSTON, MASS. Pens for Ml Purposes Perhaps you're an artist, or an engrosser, a book-keeper, a student, or just an ordinary letter writer — there's a SPENCERIAN STEEL PEN for you. Points are delicately ad* justed and smoothly ground. A sample card of 12 differenc pat- terns sent for 6 cents postage. SPENCERIAN PEN CO., 349 Broadway, New York. 3Sp gmertcan grttets CHOICE EXAMPLES ALWAYS ON VIEW. FREQUENT SPECIAL EX- HIBITIONS. - ;, Also a Fine Selection of Volkmar Pottery WILLIAM MACBETH 450 Fifth Avenue, New York City In answering advertisements, please mention Masters in Art Printed at the Everett Prttt