Recollections and Impressions of James A. McNeill WhistlerLippincott, 1903 - 296 Seiten |
Andere Ausgaben - Alle anzeigen
Häufige Begriffe und Wortgruppen
Academy American artists American painters appreciation arrangement asked Battersea Bridge beautiful blue brilliant brown brush called canvas Carlyle charming color-sense colorist composition critics decoration delight drawing E. W. Godwin effect England English etcher etchings everything exhibited fancy finished French Gallery genius Gentle Art gray green Grosvenor Gallery guineas hand harmonies hundred imitation impression John Whistler Lady less light line and color lithographs London look LYME REGIS Major Whistler matter mother Nana nature never Nocturne once painting palette Paris plates poetry portrait portrait-painter printed produce pure Rembrandt Ruskin Salon Salon des Refusés sculpture sense shade shadows side simply sitter sketch sound story studio symphonies things THOMAS CARLYLE thought tion Titian told tone truth Turner utterance Velasquez visitor walls Whist William Boxall woman yellow
Beliebte Passagen
Seite 141 - 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 179 - 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
Seite 100 - 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 13 - This man, who took no 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.
Seite 141 - And such conventional teaching is the more to be dreaded, because all that is highest in art, all that is creative and imaginative, is formed and created by every great master for himself, and cannot be repeated or imitated by others. We judge of the excellence of a rising writer, not so much by the resemblance of his works to what has been done before, as by their difference from it ; and while we advise him, in his first...
Seite 107 - The masterpiece should appear as the flower to the painter — perfect in its bud as in its bloom — with no reason to explain its presence — no mission to fulfil — a joy to the artist — a delusion to the philanthropist — a puzzle to the botanist — an accident of sentiment and alliteration to the literary man.
Seite 178 - Harmony in grey and gold" is an illustration of my meaning — a snow scene with a single black figure and a lighted tavern. I care nothing for the past, present, or future of the black figure, placed there because the black was wanted at that spot.
Seite 215 - That nature is always right is an assertion, artistically, as untrue as it is one whose truth is universally taken for granted. Nature is very rarely right — to such an extent, even, that it might almost be said that nature is usually wrong; that is to say, the condition of things that shall bring about the perfection of harmony worthy a picture is rare, and not common at all. This would seem, to even the most intelligent, a doctrine almost blasphemous. So incorporated with our education has the...
Seite 215 - 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. That Nature is always right, is an assertion, artistically, as untrue, as it is one whose truth is universally taken for granted. A Nature is very rarely right, to such an extent even, that it might almost be said that Nature is usually wrong...
Seite 213 - 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 fairyland is before us — then the wayfarer hastens home; the...