Chapter XII: The Story of the Beautiful

Who knew the errant life of the highway, of the starlit desert and windy mountain slopes better than the story-teller of old, who wandered from town to village, from camp to solitary tent, all over the face of the earth, telling his simple tales to those who cared to listen? He was the wayfarer who lived in his life the Odyssey of the eternal Wanderer, and whose words reflected in quaint imaginative excursions the adventures of strange men and women he had met in lonely forests and crowded city streets.

Every nomadic tribe, every nation, every country, has had its singer of songs, its chanter of religious hymns, its troubadour, its vagrom poet, some story-teller of the beautiful. They have vanished, and the story is now repeated by the professional poet and artist. He no longer treads the highways and the listeners no longer offer him the hospitality of a night's shelter. He lives the life of the large cities; he hastens from place to place, he mingles with the crowd but passes unseen as nobody will listen to his stories. More than ever is he the vagrom man, unless he tells his story of the Beautiful in such a novel, fascinating way that Art, "the whimsical goddess," will open the book of life and inscribe his name. Then his townspeople, his nation, a whole continent, the entire world may claim him.

Whistler travelled many highways and lo, when he arrived at the age of sixty a weary, restless wanderer in the realm of art, three nations--England, France and America--claimed him as their own.

Born in America, obtaining his education partly in America and partly in St. Petersburg, Russia, living the rest of his life in Europe, dividing his time almost equally between Paris and London, he was a cosmopolitan in the true sense of the word, and that is what he wished to be considered. He loved England and loved France, but he felt quite indifferent towards America. In Paris he had spent his student years, and he was drawn to this city by many bonds of attachments and friendships that lasted for life. And it was France who gave him that final great recognition of his genius when it purchased "The Artist's Mother" portrait for the Luxembourg, and made him an officer of the Legion of Honour. In England, on the other hand, he fought the great battles of his life for social as well as artistic recognition. In England he married, and was for many years one of the most conspicuous characters of London art and social life.

America really did nothing for him, and he did nothing for America. He never came back to America--during forty-eight years--after leaving it as a young man of twenty-one. He never exhibited in America until his name as a painter was one of the best known in Europe. He even preferred to exhibit his work with English artists in international exhibitions. We all remember the General Hawkins incident in 1889. Whistler only became known to America after his death through memorial exhibitions.

Now, of course, we like to claim him, and do so with ostentation. Expatriots are always claimed by their native country when they have achieved success or performed some remarkable act that has aroused the wonder of nations. Nobody cares whether Mr. Jack Johnson lived on the Place Monceau, or died on the Riviera.

To the analytical mind it is of little consequence whether he will go down in history as an American, English or Frenchman, as he was one of the great artists of the nineteenth century with an international significance. In the case of artists like Burne-Jones, Israels, Boldini, Fortuny, Lenbach, Segantini, it may be of more importance, as they are _local_ talents.

Whistler's predilections were natural. He was too shrewd a promoter of his own artistic welfare not to make the best of this dispute of nations. He could not have prevented it anyhow, and the question of his nationality will be disputed for many years to come. Of course, one can simply settle the matter by saying that as he was born in America of American parents, he is an American.

The English differ; they choose to do in this case what we have always done with our immigrants. After a person has lived for any length of time in the country we make him a citizen and consider him an American. How about Carl Schurz, General Siegel and Roebling, the bridge builder? They were all born abroad and yet their names are inscribed on our roll of honour. Of what nationality was Lafcadio Hearn, who, born on the Ionian Islands, of Irish and Greek parentage, living for years in New Orleans and New York, finally selected Japan as the country of his choice, where he lived the remainder of his life and was buried? And yet we class him as an American writer. It seems that the party most concerned in it; the personality itself, should decide the question. Hearn wished to be considered a Japanese. We are not quite sure what Whistler's opinion was on the matter. He claimed to be a cosmopolitan. But that is no answer, as it does not settle the dispute. It leaves others to settle it, and the trouble starts anew.

There is another much subtler point, open to argument. Is his art in any sense American? Has it a flavour, a peculiarity of its own, that could be derived from any source except that of American birth and parentage? To this question I answer emphatically yes. True enough his subject matter was, with the exception of "L'Américaine" and a few portraits, strictly Continental. But the spirit was strictly Japanese and--American. Or, I would rather say, his form of art conception was Oriental, but the essence, the under-rhythm of his personality, was after all American. He was somewhat of a snob and a _precieux_, like his friend Comte Montesquiou. He had all the polished manners, the spirit, the grace of a foreign aristocrat and yet he was neither a Frenchman nor an Englishman in his habits or views on art. He remained an alien, as any man in a foreign climate must remain to some extent, when the change of domicile is made as late as the twentieth year.

His wit and sarcasm was American. It was not pointless, neither brusque nor frivolous but it was at times flat like Mark Twain's. His self-exploitation revealed the shrewdness of an intellectual Barnum. His attitude in society was that of a "Yankee at King Arthur's Court." Besides there are vague traits in his art which reveal the premises of his origin. His women, "The Fur Jacket," "Lady Archibald Campbell," "L'Américaine," and "Miss Alexander," have a natural _finesse_, direct grace and elegant frailty that can be found nowhere but in America. His power of adaptability, his disregard for ancient culture for modern purposes, his technical fanaticism, his adventurous tastes and theories, all have an American physiognomy. If there is anything that will make him an American it is the aptitude for labour, free association, and practical adaptation.

That he left America never to return again is no compliment to our country, but he, no doubt, acted wisely. If we remember the sad unsuccessful lives of Whitman and Poe, we shun to think what might have become of Whistler had he stayed on these shores. He, no doubt, would have become one of our best painters, but he would never have become the Whistler we know to-day.

Like all our painters of merit, Fuller, Abbott Thayer, Winslow Homer, Homer Martin, to mention but a few, he would have retired into solitude, he would have become a hermit at a much earlier stage in his career. In England it was revolt, fight and victory; here it would have been stagnation. There would have been no fight because there would have been nobody to fight with.

When a man is young, he is strong because he is impulsive and because he has absolute faith in his beliefs. As he grows older his views broaden, he is not quite as certain of himself, and there will come a time when he will vacillate from one point to another, trying his faculties in different directions and searching for the final path on which his inborn talent may blossom forth in fullest strength and beauty. This is the time when a man needs encouragement, some patron no matter how stingy, some order no matter how humble, some friends and supporters who champion his cause--or he will succumb. He may not give up the battle, but his development will be marred and retarded for years.

American life is not particularly kind to budding geniuses, either in the period of revolt or of later evolution. There is no gainsaying we are a very material race just now. And it is nowise peculiar that it should be so. We do not expect much from Australia and Canada in the way of art. Why should we of the United States, where there are vast territories in very much the same primitive condition as in other emigrant countries? Of course there are certain parts and centres in this country which can boast of a culture dating back a few centuries, but the population has always lived in turmoil and conflict. Self-assertion and self-improvement are the ideals of any man who has changed his domicile, in the one hope to better his material welfare. In a country which is so vast as ours and which has at times an increase of ten thousand aliens a week, the national pride in intellectual accomplishments cannot run high.

All that wealth can do is done at present. We have numerous private collections of rare excellence and will have National Galleries and Kensington Museums in due time, but, as Whistler has said, art is not a matter of education, or of royal, civic or municipal encouragement. It is a growth and the soil must be ripe for it. No doubt, in due time collectors will divert some of their attention from the battered relics of past ages to the quite as admirable productions of their contemporaries. It would be pleasant to find that people cease the worship of dubious pictures by Old Masters as the one certain and infallible proof of enlightenment.

The artist of to-day has to subsist on the Spartan principle; he has either to do or to die. These are no stimulants to inspiration. He has to dig it all out of himself. That engenders martyrdom. And very few, particularly those equipped with lesser talent, are willing to give up a half-way respectable existence for a life in a garret and a long wait until fame knocks at the door. Nearly all the great European artists had their struggle and lived in hovels. The American is less willing to enter upon such a precarious existence, as he realizes that if he accepts it, he may have to stay in a garret until the end of his life. American artists do not assist each other. Each goes his own way, partly under the stress of conditions, because the vastness of the country and larger towns permits no closer association; and partly by choice, by personal inclination or professional reasons. There is but little intellectual intercourse. The atmospheric conditions are just as beautiful here as anywhere. And so are the subjects equally beautiful and plentiful. It would be ridiculous to deny it. Yet it takes courage to be a pioneer. It needs leisure, some incentive and sympathy. No man is inexhaustible. He needs some encouragement from outside; and if it fails to come he will grow indifferent. He may open up a restaurant, or become an illustrator on a comic paper. Deserters of this kind may not represent an irreparable loss, as they were never ensign-bearers, nor ever stood in the firing line.

"They were not carved as from iron or wood,
Cut with an axe, or hammered with sledge,
Till the man shows strong and good."

as Daniel Dawson sang, another young poet who fell by the wayside.

Our conditions are not conducive to the evolution and exploitation of a genius. Graft and prohibition laws, whose evil influences are felt in all strata of society, also injure artistic progress, if not directly, surely by the stress of public opinion. Such conditions would no doubt have retarded the progress of even a man like Whistler for years. If a man has not the means to sip his demi-tasse at Florian's, in Venice on the piazza, he can not make any etchings or lithographs of the Campanile. And if a man cannot afford to buy plates and an etching press he cannot make any etchings at all. And that is the fate of hundreds of artists in our larger cities.

No, to go to Paris and then to find another congenial abode in Europe, to settle there, to live his own life, and to do in art what he wanted to do was the wisest move Whistler ever made. It helped him to expand and to mature the great talent that was slumbering within him, ever since he stared, lost in wonder, at the Velasquez of the Hermitage at St. Petersburg.

Whistler admired the Greek as much as anybody, but this emotional reverence did not hinder him from smashing some traditions of ancient beauty to pieces. Greek art was so perfect that for centuries no artist could escape its influence. All the Old Masters were nursed on the marble breasts of Grecian goddesses. In all art schools the white corpses of plaster cast facsimiles were worshipped on bended knee. The pupils never dared to glance about. They did not see the beauty of the world around them. They could perceive it only through Greek conventions. This had to cease. There was no life blood in these artificial constructions. But tradition was so deeply ingrained in Western æstheticisms that it lingered on for centuries, until Manet entered the studio, opened the windows, let in the light, and Monet took the young students by the arm, pushed them into the open air and led them to the meadows and riverside, and the open road.

Whistler, in the meanwhile, had scoured the whole horizon of art, and beheld a new dawn in the East. There he saw an old civilization, as deep and broad as ours. It was just at a stage when modern materialism had begun to wash out some of its finest colours. Art was deteriorating in the East under the stress of missionaries and merchants. An era of manufacture had set in. Could not the noble, unselfish spirit of old Japan be kept alive, revived,--amalgamated with our art, and be made to pour new life into our valiant dreams of beauty!

You remember what Whistler said of the primitive artist. The words are worth repeating:

"In the beginning, man went forth each day--some to do battle, some to the chase, others, again, to dig and delve in the fields--all that they might gain and live, or lose and die. Until there was found among them one, differing from the rest, whose pursuits attracted him not, and so he stayed by the tents with the women, and traced strange devices with a burnt stick upon a gourd.

"This man, who took not joy in the ways of his brethren--who cared not for conquest, and fretted in the field--this designer of quaint patterns--this deviser of the beautiful, who perceived in Nature about him curious curvings, as faces are seen in the fire, this dreamer apart, was the first artist.

"And when, from the field from afar, there came back the people, they took the gourd--and drank from out of it.

"And presently there came to this man another--and in time others--of like nature, chosen by the Gods--and so they worked together and soon they fashioned from the moistened earth forms resembling the gourd. And with the power of creation, the heirloom of the artist, presently they went forth beyond the slovenly suggestion of Nature, and the first vase was born, in beautiful proportions.

"And the toilers tilled and were athirst; and the heroes returned from fresh victories, to rejoice and to feast; and all drank alike from the artist's goblets, fashioned cunningly, taking no note the while of the craftsman's pride, and understanding not his glory in his work; drinking at the cup, not from choice, not from a consciousness that it was beautiful, but because, forsooth, there was none other."

The art of the past has done its work. The white gods are worshipped no longer in the sacred woods and the Old Masters have lost much of their spiritual glamour. But no need to mourn their loss, they will remain beautiful. We will always look with awe and wonder at the figures of the Parthenon frieze. We will never cease to love the Primitifs. We will continue to make pilgrimages to the Prado and the Sistine Chapel. And Rembrandt will as heretofore receive the adoration of mankind.

Yet the new art will be different. It has to be different to equal the old. It will be attuned to the moods of the modern mind. It will have new accents. It will bear the analytical and complex aspects of our time. It will be subtler, more fragile, perhaps, but it will drive deeper into our soul than the cold correctness of older forms and emblems.

It was Whistler who pointed out that a large picture is a contradiction, that a picture like Raphael's "Transfiguration" or Veronese's "Marriage of Cana" are merely combinations of smaller pictures, drearily linked together by stretches of negligible paint. The demands of explanation, of form and composition, drag in, every now and then, lines and colour notes which are merely padding. They are the painter's concessions to the old rules of complexity. The modern mind demands a concentrated vision. Painting must appeal again directly to our finer sensibilities, speak to us without interference of moral or literary considerations.

It was Whistler who taught that painting was a science of colour manipulation. That the first requisite of a painter is to know how to paint. Everybody can learn how to draw and how to handle a brush. To explore the secrets of colour, to discern their influences upon each other, to render them atmospheric and musical, that alone is of vital importance. For painting should be a visual language that speaks directly and distinctly to the cultured mind. How many of the younger American painters (alas, our younger men have all passed the threshold of thirty if not of forty) really know their _métier_? Henri, Reid, Luks, Tarbell, Hawthorne, Clews, R. E. Miller, Lucas, who else? That is why Whistler's art is so exceptional and masterful. There may be other methods just as good as his; Monticelli, Maris, Mancini, Segantini, Renoir, Cézanne, etc., all have their peculiar way, but I believe that Whistler got nearest to the pulse beat of our age. Resolutely and tranquil, he carried an idea to its utmost logical conclusion, after once accepting its particular point of view. And that is why everything he did bears an unmistakable stamp of his own.

It was Whistler who proved that art was synonymous with hard work. Few painters will follow his example and spend a whole day trying to put in a high-light or to find the right place for a butterfly's wing, and go home at night satisfied with having made a few brush-strokes after altering them a hundred times, but these commercial travellers of art will never know the painter's pure delight, the contemplation of life, the aspiration to perfection, the lifting of beauty out of the dead pigment. Such worship of art, such absolute disinterestedness, such fidelity to painting cannot be too highly esteemed.

And it was Whistler who proclaimed that art cannot be taught but must be an inborn gift, that everything can be acquired by long practice save that one supernatural quality of genius which alone can transform a painter into a great artist. What is there in these pictures produced every year, here and in Paris and everywhere? Portraits, landscapes, ordinary delineations of prosaic scenes that may be painted with considerable skill and that may look pretty enough, but that are absolutely incapable of evoking a fine and subtle emotion. This, the men upon whose shoulders the black mantle of Whistler's muse may fall, must realize, that it is a vain endeavour--as futile as cloud shadows on a summer day--unless they know that they can hold her, "the capricious jade," as they possess the magic wand to call her.

This was the spirit in which Whistler conceived art. It had long faded out of European art. It was rapidly deteriorating in the Orient. Why could not a single man, even with the whole world against him, live up to some big ideal! To be an artist simply for one's own gratification. To fashion something beautiful simply because one feels like doing it. To purify one's mind by projecting into life what is accumulated there by some curious grace of nature. Whistler undertook the task, and created a new art form that may be destined to rule art for the next thousand years.

A new art form is always the expression of a new spirit. In painting the new spirit is rebellious. In addition it is emphatically individualistic. It is opposed to previous schools and academic training. It aims at attaining the maximum of personal intensity. The exigencies of the classic style--the necessity of a literary subject--at once stay the free use of the brush and hamper the virile expression of technique. Why not give to art a new twist, graft upon it a new beauty, enliven it with a purer flame, that it may shine forth again in its old pristine beauty!

The Western mind still rebels that this resurrection should come from the East, through another race. Even the most ardent disciples of Whistler make little of the Japanese influence. It is still a question of conquest. In my mind, as in that of many of our foremost artists, there is not the slightest doubt that the Eastern idea will win out and that a new era, as important as that of Greek influence, will set in. The meaning of the old symbols has faded and it is the artist's duty to create new ones.

Whistler disclosed new harmonies of tone, of arrangement, and visual poetry, all of them sensitive and expressive, using blacks and browns and a touch of vivid colour or a flare of white, and thereby succeeded in stirring the depth of our nature. His art has a tender pallor, tones purposely deadened, faded tints like those on Japanese screens of old feudal castles, of a wondrous harmony and softness. Details, discreetly accentuated, allow the ensemble to retain its full importance, and against dark background, in soft neutral tints, figures that the painter desires to bring out show with an illusion of life truly magical. Herein consists the last great pictorial invention; it is through this that painting still has the faculty to powerfully address the modern mind.

He said in his "Ten O'Clock" that the story of the beautiful was complete. He surely, like Monet, has added a valuable chapter. He, in his own words, was "one of the chosen--with the mark of the gods upon him--who had to continue what had gone before."

THE END.

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PRINCIPAL MAGAZINE ARTICLES

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pp. 245-257.
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McColl, D. S. Art Journal v. 15, p. 88.
McColl, D. S. Saturday Review v. 13, p. 357.
Meynell, Wilfred Pall Mall Magazine 1903, v. 31.
Morton, Fred. W. Brush and Pencil 1903, v. 12.
Mulliken, Mary A. International Studio 1905, v. 25.
Muster, John de Elseviers Geillust 1907, v. 33.
The Nation 1903, pp. 149-151.
Patini, Rinaldo Nuova antologia 1909, v. 140.
Pennell, Joseph Burlington Magazine 1903, v. 3.
Pennell, Joseph Nation v. 54, p. 280.
Pennell, Joseph North American Review 1903, v. 177.
Scribner's Magazine v. 21, p. 277.
Pennington, Harper International Quar'ly 1904, v. 10, No. 1.
Pennington, Harper Metropolitan Magazine 1910, pp. 769-776.
Princep, Val Magazine of Art 1903.
Quilter, Harry Chamber's Magazine 1903, v. 66.
Revista Latino Americana 1903, v. 1.
Rosenhagen, Hans Nord und Süd 1909, v. 130.
Saturday Review v. 3 p. 208.
Scott, William International Studio 1903, pp. 97-107.
Sickert, Bernhard Burlington Magazine 1905, v. 6.
Sickert, Oswald International Studio 1903, v. 21.
Sickert, Oswald Kunst und Künstler 1903, v. 1.
Sickert, Walker Fortnightly Review v. 54, p. 243.
Sketchley, R. E. D. Kunst und Künstler 1906, v. 4.
Smalley, Phoebe J. The Lamp v. 27, p. 110.
Spielmann, M. H. Magazine of Art Nov. 1903,
pp. 69-70.
Swinburne, A. C. Fortnightly Review v. 49, p. 745.
Swinburne, A. C. Ecclesiastic Magazine v. 111, p. 154.
Teall, Gardner C. The Bookman 1903, pp. 265-268.
Thompson, D. Art Journal 1903, v. 55.
Academy v. 23, p. 134.
Wedmore, Fred 19th Century Magazine 1904, v. 21.
Knowledge v. 3, p. 208.
Way, Thomas R. International Studio 1903.
Wuerpel, G. H. Independent v. 56, p. 131.
Wilson, T. Book Buyer v. 17, p. 113.

PRINCIPAL PAINTINGS[2] [Footnote 2: p. indicates when picture was painted, or started, as it sometimes took Whistler more than ten years to finish a picture; e. indicates when first exhibited. Dates and ownership are omitted whenever author failed to verify facts.]

-------------------------+--------------------------------+--------
La Fumette p. 1859.
Self-portrait (S. P. Avery, Esq.) p. 1859.
La Mère Gérard p. 1859.
The Music Room (Frank J. Hecker, Esq.) p. 1860.
The Woman in White (J. H. Whittemore, Esq.) p. 1863
e. 1863.
Lange Leizen of Six
Marks: In Purple and
Rose (John G. Johnson, Esq.) p. 1864
e. 1864.
Harmony in Purple and
Gold: The Golden
Screen (Chas. W. Freer, Esq.) p. 1864
e. 1865.
Symphony in White II:
The Little White Girl (Arthur Studd, Esq.) p. and
e. 1864.
Symphony in White III (E. Davis, Esq.)
At the Piano (E. Davis, Esq.) p. 1859
e. 1867.
La Princesse du Pays
de la Porcelaine (Chas. W. Freer, Esq.) p. 1864
e. 1865.
On the Balcony: Harmony
in Flesh Colour
and Green (Chas. W. Freer, Esq.) e. 1866.
Self-portrait (George McCullough, Esq.) p. 1867.
Arrangement in Black:
F. R. Leyland (Chas. W. Freer, Esq.) e. 1873
Arrangement in Brown
and Gold (J. J. Cowan, Esq.)
Woman in Gray (Rijks Museum, Amsterdam)
Lady in Gray (Metropolitan Museum, New York)
L'Andalusienne (John H. Whittemore, Esq.) p. about
1894.
Arrangement in Black
and Brown: Miss
Rose Corder (R. A. Canfield, Esq.) p. 1876
e. 1881.
The Peacock Room (Chas. W. Freer, Esq.) 1876.
Arrangement in Black
and Brown: The Fur
Jacket (William Burrell, Esq.) p. 1876.
Américaine p. 1876
e. 1878.
Florence Leyland (Brooklyn Institute, New York) p. 1876
e. 1878.
Arrangement in Gray
and Black: Thomas
Carlyle (City Art Galleries, Glasgow) p. 1872
e. 1877.
Sir Henry Irving as
Philip II e. 1877.
Arrangement in Gray
and Black: The Artist's
Mother (Luxembourg Gallery) p. 1871
e. 1881.
Arrangement in Gray
and Green: Miss
Alexander (W. C. Alexander, Esq.) p. 1872
e. 1881.
Arrangement in Black
and White: Lady Meux p. 1877
e. 1884.
Harmony in Pink and
Gray: Lady Meux e. 1882.
Theodore Duret e. 1883.
Arrangement in Black:
Lady Archibald Campbell (Wilstach Gallery, Phila.) e. 1883.
Mrs. Louis Huth p. 1877
e. 1884.
Arrangement in Black:
Mme. Cassatt e. 1855.
Arrangement in Black: (Carnegie Art Institute,
Pablo Sarasate Pittsburg, Pa.) p. 1884
e. 1886.
Harmony in Ivory:
Lady Colin Campbell e. 1866.
Arrangement in Violet
and Rose: Mme.
Walter Sickert e. 1887.
Arrangement in Black
and Gold: Comte de
Montesquieu (R. A. Canfield, Esq.) e. 1891.
The Master Smith of
Lyme Regis (Boston Museum) e. 1895.
Little Rose of Lyme
Regis (Boston Museum) e. 1895.
Full length Self-portrait (G. W. Vanderbilt, Esq.) e. 1900.

NOCTURNES

_The majority of Nocturnes were painted during the years 1866-1884._

Nocturne in Blue and Gold: Valparaiso p. 1866 e. 1871. (Chas. W.
Freer, Esq.)
Symphony in Gray and Green: The Ocean p. 1871. (R. A.
Canfield, Esq.)
Crepuscule in Flesh Color and Green:
Valparaiso p. 1871.
Nocturne in Blue and Silver: Battersea p. 1877. (Chas. W.
Reach Freer, Esq.)
Nocturne in Blue and Silver p. 1877.
Nocturne in Blue and Gold: Old Battersea
Bridge (Tate Gallery, London.)
Nocturne: Trafalgar Square, Snow.
Nocturne in Blue and Silver: Bognor. (Chas. W. Freer, Esq.)
Nocturne in Opal and Silver: The
Music Room.
Nocturne in Gray and Gold: Chelsea,
Snow.
Nocturne in Gray and Gold: Westminster
Bridge.
Nocturne in Blue and Gold: Southampton
Waters (Art Institute, Chicago.)
Nocturne in Brown and Silver: Old
Battersea Bridge.
Nocturne in Blue and Gold: St.
Mark's, Venice.
Pink and Gray: Chelsea (Lord Battersea.)
Nocturne in Black and Gold: The p. 187 (Mrs. S. Untermyer)
Falling Rocket
Cremorne Gardens (Metropolitan Museum, N.Y.)
An Orange Note: Sweet Shop.

INDEX

Abbey, Edwin A., 37

_Adam and Eve Tavern_, 153

Adams, Clifford, 72

_Alexander, Portrait of Miss_, 109, 124, 137-138, 139, 238

"_Américaine, La Belle_," 134, 237, 238

Appian, 152

_Amsterdam Canal_, 154

_Annual Review at Spithead_, 157

Armstrong, 219

_Arrangements_, 21, 116, 129

_Artist's Mother, Portrait of the_, 8, 21, 29, 31, 41, 76, 90, 109,
124, 136, 137, 143, 144-146, 176, 234

_At the Piano_, 3, 17, 122-123

Aubrey, 110

Avery, S. P., 219

Bacher, Otto H., 155-156, 221

Balleroy, De, 17

Balzac, 94

_Barber, The_, 158

_Battersea Bridge_, 153

Baudelaire, 17

Bayliss, Wyke, 190

_Becquet_, 153

"_Belle Dame Paresseuse, La_," 175

"_Belle New-Yorkaise, La_," 175

Besnard, 85, 89

Bing, 45

Binyon, Laurence, 210

_Blue Wave, The; Biarritz_, 42

Böcklin, 69

_Bognor_, 40

Boldini, 138, 230, 236

Bonvin, 17

Bracquemond, 17, 18

Burne-Jones, 72, 193, 236

Butterfly Monogram, The, 39-41, 56-57

_Cadogan Pier_, 162

_Campbell, Portrait of Lady Archibald_, 3, 4, 5, 27, 124, 128, 137,
238

Canaletto, 151

Canfield, R. A., 73, 128

_Caprice_, 177

_Caprices_, 21

Caravaggio, 93

Carlyle, Thomas, 23, 110, 138

_Carlyle, Portrait of Thomas_, 8, 76, 109, 136, 137, 143, 144

Carrière, 69, 90, 96

Carte, D'Oyly, 110

Casanova, 196

_Cassatt, Portrait of Mme._, 124

Cazin, 18, 68, 69

Cellini, Benvenuto, 196, 231

Cernuschi, 45

Cézanne, 247

Champfleury, 17

Chandler, Rob, 104

Chardin, 87

Chase, William M., 191, 201

Chavannes, 55, 68, 69, 76, 202, 204

_Chelsea_, 3, 70, 153

Cheret, 47

_Chevalet Pieces_, 29

Chevreul, 87

Child, Theodore, 191

Church, F. E., 76

Cimabue, 35

Clews, 247

Colarossi, 42

Collins, Wilkie, 187

"_Confidences dans le Jardin, Les_," 175

Constable, 90, 134, 203

_Corder, Portrait of Rose_, 124, 128-129, 137

Cordier, 17

Corot, 69

Courbet, 17, 18, 42, 43, 64, 79

"_Cuisine, La_," 149

Dabo, Leon, 34, 90

Dagnan-Bouveret, 69

_Dam Wood, The_, 162

_Dancing Girl_, 173

Dannat, 84

Daubigny, 75

David, 78

Dawson, Daniel, 242

Degas, 18, 85, 87, 89

Delacroix, 17, 87, 133

Delaroche, 78

Delâtre, 166

Delonney, 150

Denton, Watts, 221

_Doorway_, 154

Drouet, 219

_Drouet, Portrait of_, 153

Du Maurier, 16, 192, 218, 219

Duran, Carolus, 33

Duranty, 17

Dürer, 147, 148, 203

Duret, Theodore, 37, 125, 173

_Duret, Portrait of Theodore_, 124, 136, 137, 138, 139, 143

Duveneck, Frank, 190

Eden, Sir William, 190, 191

Elsheimer, 94

_Etchings_, 7, 27, 28, 66, 116, 149-154, 158-162, 166-167

Eugenie, Empress, 16, 18

_Early Morning_, 175

_Falling Rocket, The_, 24, 58-60

Fantin-Latour, 13, 16, 17, 172, 229

Flaubert, 80

Ford, Sheridan, 30, 100, 182, 195

Fortuny, 236

Fragonard, 133

France, Anatole, 208

Freer, Charles W., 36, 37, 50, 229

Frith, W. P., 191

Fromentin, 186

Fuller, 239

_Fumette_, 17

_Fur Jacket, The_, 124, 128, 137, 238

Gainsborough, 138, 203

_Garden, The_, 66, 151

"_Gentle Art of Making Enemies, The_," 8, 30, 40, 182

_Girl on a Couch_, 153

Gleyre, Charles, 12, 41-42

Godwin, Edwin W., 8, 37

_Golden Screen, The_, 50, 51

Goncourt, Edmond and Jules de, 45, 80, 206

Goya, 79

Gozzolli, 124, 125

Grain, Corney, 108

_Grand Gallery of the Louvre, The_, 174

Gray, Walter, 226

Greaves, 227

Guimet, 45

Guthrie, Sir James, 37

Haden, F. Seymour, 9, 17, 44, 122, 155, 190

Hals, Franz, 79, 91, 122, 134, 141

Hamerton, P. G., 153, 190

_Harmonies_, 21, 28, 29, 44, 116, 118, 129, 178

Harpignies, 18

Harrison, Alexander, 225

Harunobu, 147, 148

Hawkins, C. R., 191, 235

Hawthorne, 247

Hecker, Frank J., 44

Heffernan, Joanna, 51-52

Heine, Heinrich, 49, 151

Helleu, 230

Helmholtz, 87

_Henley, Portraits of Mr. and Mrs. W. E._, 176

Henner, 69, 93

Henri, Robert, 91, 247

Heyse, Paul, 206

Herrick, 172

Hiroshige, 40, 51, 53, 62, 66, 67

Hogarth, 37, 203

Hokusai, 148

Homer, Winslow, 239

Horsley, R. A., 177

_Hôtel de Ville at Loches_, 151

_House Beautiful_, see _White House_

Huddleston, Judge, 194

_Huth, Portrait of Mrs._, 124, 137

Ingres, 12, 64, 78, 147

Inness, 201

Ionides, Luke, 218

_Irving as Philip II., Portrait of Sir Henry_, 124, 136

Israels, 64, 134, 202, 236

Jacquemart, 152

Jameson, Mrs., 220

_Jo_, 52, 153

Johnson, John G., 49

Jongkind, 18

Julian, 42

Keene, Charles, 195

Kennedy, 192

Khnopff, 90

Kiyonaga, 46

Klinger, 153

Lalanne, 152

Lalouette, Madame, 13

_Lange-Leizen of the Six Marks_, 49, 50

_Lannion, A_, 178

Lautrec, Toulouse, 47

Lavery, John, 37, 90

Legros, 13, 16, 17, 191

Leighton, Sir Frederick, 64, 69, 191, 192, 193

Lenbach, 83, 236

Leonardo da Vinci, 16, 79, 90, 92

Lessing, 186

Leyland, F. R., 9, 22, 54, 103, 104, 105, 157, 190, 211, 223

_Leyland, Portrait of Florence_, 124, 129-130, 134, 139

_Leyland, Portrait of F. R._, 124, 127-128, 140, 143

_Lime Burner, The_, 66

Lindsey, Sir Coutts, 193, 194

_Lion's Wharf_, 153

_Lithographs_, 8, 27, 29, 172-178

_Little Mast, The_, 158

_Little Nude Reading, The_, 178

_Little Pool, The_, 162

_Little Rose of Lyme Regis_, 175

_Little Venice_, 151

_Little Wapping_, 162

_Little White Girl, The_, 49, 52-53, 123

_Locksmith of the Dragon Square, The_, 175

_London Bridge_, 158

_Long Lagoon, The_, 162

Lorraine, Claude, 151

Ludovici, A, 224

Luks, 247

_Luxembourg Gardens, The_, 174

"_Maison Jaune, La_," 178

"_Maison Rouge à Paimpol, La_," 178

Makart, 134

Mallarmé, Stéphane, 176, 206, 209

_Mallarmé, Portrait of Stéphane_, 175-176

Mancini, 247

Manet, 17, 18, 19, 87, 90, 141, 204, 243

Mantz, Paul, 19

"_Marchande de Moutarde, La_," 149

_Marines_, 29

Maris, 71, 247

Martin, Homer, 239

_Master Smith, The_, 175

"Maud," 110

Maupassant, Guy de, 206

Max, Gabriel, 124

McCullough, George, 229

Memling, 133

Menpes, Mortimer, 195, 197, 222

Meredith, George, 3, 23

"_Mère Gérard, La_," 17, 149

_Meux, Portraits of Lady_, 27, 124, 133, 137

Meyrion, 153, 154

Millais, 193

_Model resting, The_, 153, 178

Monet, 75, 79, 87, 90, 141, 142, 204, 244

Montesquiou de Fezensac, Comte, 195, 237

_Montesquiou de Fezensac, Portraits of Comte_, 27, 142-143, 176

Monticelli, 136, 247

Moore, Albert, 229

Moore, George, 191

_Morning Call, The_, see _Music Room, The_

Morris, William, 100-102

Murger, Henri, 13

_Music Room, The_, 42, 44

Napoleon III, 18

_Nocturnes_, 21, 24-25, 28, 29, 40, 59-61, 67, 71-80, 118, 193,
226-228

_Notes_, 21, 28, 29, 118

_Ocean, The_, 39, 67

_Old Battersea Bridge_, 3, 59, 67, 70

_Old Hungerford Bridge_, 162

_On the Balcony (Terrace)_, 50, 54-55, 70, 154

Outomaro, 46, 49, 54, 64

_Palace_, 154

Palmer, Emma, 216

_Pantheon_, 174

_Pastels_, 7, 28, 178-179

_Peacock Room_, 21, 54, 103, 104-105, 211

Peladan, Mérodack, 147

Pelligrini, Carlo, 195

Pennell, Joseph, 105, 125, 139, 153, 157, 166-167, 196, 216, 226,
229, 230

_Pennell, Portraits of Mr. and Mrs. Joseph_, 176

Pennington, Harper, 107, 211

"Pepys' Diary," 9

Philip, John Bernie, 8

_Philip, Portrait of Miss_, 176

Pinturicchio, 133

Pissaro, 18

Poe, Edgar Allan, 11

_Pool, The_, 151

_Price's Candle Works_, 151

_Princess of the Porcelain Land_, 50, 54, 65, 103, 123

Prinsep, Val, 191, 223

Prudhon, 93

Quilter, Harry, 113-114, 190

Raffaelli, Jean François, 6, 86, 124, 153

Raphael, 91, 147, 246

Regamey, 45

Reid, 247

Rembrandt, 18, 79, 81, 82, 91, 95, 98, 149, 152, 199, 203, 246

Renoir, 89, 95, 247

Ribera, 93

Ribot, 16, 134

_Riva, The_, 158

Robertson, Graham, 128

Rodin, 94

Rood, Ogden, 87

Rops, 153

Rossetti, Dante Gabriel, 23, 34, 54, 191, 221

Rossetti, W. M., 103, 228

Rossi, Mme. Carmen, 33

Rousseau, 75

Rowley, 219

Roybet, 134

Rubens, 13, 65, 133, 219

Ruskin, John, 24, 58-60, 72, 87, 117, 151, 177, 193-194

Ryder, 71, 201

_San Biagio_, 151

Sarasate, Pablo de, 22, 110, 113, 195

_Sarasate, Portrait of Pablo de_, 27, 97, 124, 136, 139-140, 145

Sargent, 84, 141, 201

_Scene in Alsatian Village_, 150

Schalcken, 82

Segantini, 236, 247

Sharaku, 46

Shunsho, 46

_Sickert, Portrait of Walter_, 176

_Silent Canal, The_, 153

Singer, H. W., 196

"_Soupe à Trois Sous_," 153

_Southampton Docks_, 153

_Southampton Water_, 70

Spartali, Christie, 54

Spencer, Herbert, 85

Starr, Sidney, 140

Steichen, 94

Stevens, 42, 43-44, 103, 123

_St. Mark's, Venice_, 70

Stott, 191

_Street at Saverne_, 150

Studd, Arthur, 49

Sutherland, 106

Swinburne, 23, 53,191

_Symphony in White, A_, 19, 42, 50, 189, see also _Woman in White_

_Symphonies_, 21, 39, 40, 42

Tadema, Alma, 42

Taine, H., 81

Tanyu, 148

Tarbell, 247

Taylor, Tom, 190

"Ten O'clock," 8, 61, 182, 186, 198-200, 251

Terborg, 93

Thayer, Abbott, 201, 239

Thomas, Percy, 225

Thomas, Ralph, 229

Thompson, Sir H., 22

Tintoretto, 65

Tissot, 12, 95, 133, 134

Titian, 65, 81, 91, 95, 130, 133, 168

Tryon, 68, 69

Turner, 75, 87, 151

_Unsafe Tenement_, 153

_Valparaiso Harbour_, 20-21, 59, 70

Vanderbilt, George W., 37, 230

Van der Helst, 18

Van Dyke, 79, 82, 122

Van Rensselaer, Mrs. Schuyler, 167

_Variations_, 21

Velasquez, 11, 42, 79, 95, 97, 124-125, 132, 134, 142, 192, 203, 231,
243

_Velvet Dress, The_, 162

Vermeer, 18

Vernet, 78

Veronese, 168, 169, 246

Veyrasset, 153

"_Vielle aux Loques, La_," 149

_View on the Thames_, 173

Vollon, 18

Watteau, 87

Way, Thomas, 174, 176, 229

Wedmore, Frederick, 166, 174, 190

_Westminster Bridge_, 70

Whistler George Washington, 9-11

Whistler, James (Abbott) McNeill
Private Life, 8-38, 214-218, 234
Birth, 9
Youth, 9-11
Marriage, 8, 32
In Russia, 10-11
At West Point, 11-12, 16
Student Life in Paris, 12-17, 41-43
In London, 6-7, 17, 19, 21-26, 27, 36-37
In Paris, 6-7, 19, 28-36
In Venice, 7, 26-27, 151-152
In Holland, 7, 18, 36
In South America, 20-21, 74
Financial Difficulties, 26-27
His Art School, 33-35
Japanese Influence, 45-57
Butterfly Monogram, 39-41, 56-57

_Whistler's Portraits of Himself_, 219, 228-230

Whistler, William, 214

_White Girl, The_, see _Symphony in White, A_

White House, The, 8, 22-23, 106-109, 113

White, Stanford, 118

Whitman, 204

Whittemore, John G., 50

Wilde, Oscar, 25-26, 192

_Wine Glass, The_, 153

_Woman in White_, 49, 52, 123, 186-187, 229

Wuerpel, E. H., 28

_Yacht Race, The_, 188

_Yellow Buskin, The_, see _Campbell, Portrait of Lady Archibald_

Young, 87

_Zaandam_, 158

Zola, 19

Zorn, 84, 141, 153

* * * * *

Transcriber's Notes:

PUNCTUATION

Text enclosed by underscores is in italics (_italics_).
oe ligatures are shown thus: [oe] (e.g. man[oe]uvred).
Small capital text has been replaced with all capitals or with
passages in title case.

Obvious punctuation errors have been repaired; however,
inconsistencies in hyphenation (e.g. "every-day"/"everyday") have
been retained.

WORDS AND SPELLING

pg 25: "Grey" changed to "Gray" (The author of "Dorian Gray")
pg 32 and 45: "ae" normalised to "æ" (Men of very dissimilar
æsthetic convictions) (the æsthetes of the Empire)
pg 110 and index: "D'Oyle" changed to "D'Oyly" (the home of Mr.
D'Oyly Carte)
pg 166: Word "he" added (I believe he himself knew)
pg 186: "Laakoon" changed to "Laokoon"
pg 227: "absorbant" changed to "absorbent" (painted on very
absorbent canvas)
pg 227: "noctures" changed to "nocturnes" (For the blue nocturnes)
pg 229: "frontpiece" changed to "frontispiece" (appears as the
frontispiece)
pg 241: "enlightment" changed to "enlightenment" (proof of
enlightenment)
pg 263: "Riks Museum" changed to "Rijks Museum" (Rijks Museum,
Amsterdam)
pg 269: "Hellew" changed to "Helleu"