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Ajaccio Arrangement in Black artist Battersea Bridge beauty Benedite Birnie-Philip Black and White Blanche Marchesi Blue and Silver Boston Catalogue Brown Paper Butterfly canvas Chalk on Brown charm Chelsea Courbet dark Doorway Drawing dress etching Fantin Freer French gray Green Grolier Club harmony Howard Mansfield impression inside the frame Japanese Joseph Pennell Knowles Lady Lent by Charles Lent by Howard Lent by John Lent by Madame Lent by Miss Lent by R. A. Lent by Sir Lent by Thomas Leyland light lithographs London Catalogue Memorial Exhibitions mind Model Mortimer Menpes Nocturne Nude Page 22 painted painter Paris Catalogue Pastel Pen and Ink Pencil plate R. A. Canfield Reproduced Rose Rossetti scene Signed Whistler Sir Seymour Haden Sketch Staats Forbes Study Symphony in White Thames Theodore Duret tion tone Venice Violet Water-Colour Whistler's art White Chalk White Girl yellow
Page 109 - A PICTURE is finished when all trace of the means used to bring about the end has disappeared. To say of a picture, as is often said in its praise, that it shows great and earnest labour, is to say that it is incomplete and unfit for view.
Page 137 - Art has become foolishly confounded with education — that all should be equally qualified. Whereas, while polish, refinement, culture, and breeding, are in no way arguments for artistic result, it is also no reproach to the most finished scholar or greatest gentleman in the land that he be absolutely without eye for painting or ear for music — that in his heart he prefers the popular print to the scratch of Rembrandt's needle, or the songs of the hall to Beethoven's "C minor Symphony.
Page 76 - Art should be independent of all clap-trap — 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
Page 76 - When the Imagination frames a comparison, if it does not strike on the first presentation, a sense of the truth of the likeness, from the moment that it is perceived, grows — and continues to grow — upon the mind ; the resemblance depending less upon outline of form and feature, than upon expression and effect ; less upon casual and outstanding,, than upon inherent and internal, properties : moreover, the images invariably modify each other. — The...
Page 109 - 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.
Page 28 - He does not confine himself to purposeless copying, without thought, each blade of grass as commended by the inconsequent, but in the long curve of the narrow leaf corrected by the straight tall stem, he learns how grace is wedded to dignity, how strength enhances sweetness that elegance shall be the result.
Page 48 - I cannot see what pleasures Or what pains were; What pale new loves and treasures New years will bear ; What beam will fall, what shower, What grief or joy for dower; But one thing knows the flower; the flower is fair.
Page 62 - I might safely say that it generally is. Meanwhile, the painter's poetry is quite lost to him— the amazing invention that shall have put form and colour into such perfect harmony, that exquisiteness is the result...
Page 107 - FORGET six counties overhung with smoke, Forget the snorting steam and piston stroke, Forget the spreading of the hideous town; Think rather of the pack-horse on the down, And dream of London, small, and white, and clean, The clear Thames bordered by its gardens green...