The Gentle Art of Making Enemies: As Pleasingly Exemplified in Many Instances, Wherein the Serious Ones of this Earth, Carefully Exasperated, Have Been Prettily Spurred on to Unseemliness and Indiscretion, While Overcome by an Undue Sense of Right
Putnam, 1904 - 340 Seiten
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Academy Alfred Chapman appear arrangement Arry art critic Atlas Battersea Bridge beautiful black and gold blue and silver Bowen British Artists butterfly called canvas Chelsea dear decorative don,t Duveneck eccentricity EDITOR exhibited finished foolish Frank Duveneck GENTLE ART gentlemen grey Grosvenor Gallery harmonies honour hundred guineas impression James Whistler James,s Gazette JOHN RUSKIN Jones jury lecturer letter look matter McNeill Whistler ment Messrs Nature never Nocturne in Black nocturne in blue o,Clock obedient servant opinion OSCAR WILDE P. G. HAMERTON painter Painter-Etchers painting Pall Mall Pall Mall Gazette paper Paris Paul Delaroche Piker plates portrait printed REFLECTION ridicule Royal Society sense sent Seymour Haden sketch Society of British Suffolk Street surely Symphony things thought tion Tite Street Titian TLAS tone truth Velasquez walls Wedmore Whistler,s etchings Whistler,s pictures writing WYKE BAYLISS
Seite 4 - 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.
Seite 143 - Nature contains the elements, in colour and form, of all pictures, as the keyboard contains the notes of all music. But the artist is born to pick, and choose, and group with science, these elements, that the result may be beautiful — as the musician gathers his notes, and forms his chords, until he bring forth from chaos glorious harmony. To say to the painter, that Nature is to be taken as she is, is to say to the player, that he may sit on the piano.
Seite 106 - Therefore Is judgment far from us, neither doth justice overtake us: we wait for light, but behold obscurity; for brightness, but we walk in darkness.
Seite 128 - Art should be independent of all claptrap - should stand alone, and appeal to the artistic sense of eye or ear, without confounding this with emotions entirely foreign to it, as devotion, pity, love, patriotism, and the like. All these have no kind of concern with it; and that is why I insist on calling my works 'arrangements
Seite 145 - The sun blares, the wind blows from the east, the sky is bereft of cloud, and without, all is of iron. The windows of the Crystal Palace are seen from all points of London. The holiday-maker rejoices in the glorious day, and the painter turns aside to shut his eyes.
Seite 116 - Industry in art is a necessity — not a virtue — and any evidence of the same, in the production, is a blemish, not a quality; a proof, not of achievement, but of absolutely insufficient work, for work alone will efface the footsteps of work.
Seite 145 - And when the evening mist clothes the riverside with poetry, as with a veil, and the poor buildings lose themselves in the dim sky, and the tall chimneys become campanili, and the warehouses are palaces in the night, and the whole city hangs in the heavens, and fairy-land is before us - then the wayfarer hastens home; the working man and the cultured one, the wise man and the one of pleasure, cease to understand, as they have ceased to see, and Nature, who, for once, has sung in tune, sings her exquisite...
Seite 146 - In the citron wing of the pale butterfly, with its dainty spots of orange, he sees before him the stately halls of fair gold, with their slender saffron pillars, and is taught how the delicate drawing high upon the walls shall be traced in tender tones of orpiment, and repeated by the base in notes of graver hue.
Seite 116 - A PICTURE is finished when all trace of the means used to bring about the end has disappeared.
Seite 155 - Why this lifting of the brow in deprecation of the present— this pathos in reference to the past? If Art be rare to-day, it was seldom heretofore. It is false, this teaching of decay. The master stands in no relation to the moment at which he occurs— a monument of isolation — hinting at sadness — having no part in the progress of his fellow men.