The Art of James McNeill Whistler: An AppreciationG. Bell and sons, 1903 - 127 Seiten |
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arrangement artist background Balcony barge BATTERSEA BRIDGE beautiful brilliant canvas Carlyle charming Chelsea CREMORNE GARDENS dark decoration drawing dress Drypoint early Edmund Davis effect entitled etchings exhibited exquisite face figure figure-subjects flesh foreground frame full-length Gentle Art George McCulloch Golden Screen gray Grosvenor Gallery harmony illustrated J. J. Cowan JAMES MCNEILL WHISTLER Japanese lady light lithographs Little White Girl London look Lyme Regis master medium Messrs Mother's Portrait nature never NOCTURNE IN BLUE nude OLD BATTERSEA BRIDGE painter PAINTER'S MOTHER panel Paris pastel PEACOCK ROOM perfect Pier pink plate PORTRAIT OF MISS possession Princesse du Pays prints qualities represents Reproduced river Royal Academy Ruskin trial scene seen Sir Seymour Haden sitters spectator stands studies Symphony in White THAMES IN ICE Thames series Théodore Duret Thomas THOMAS CARLYLE treatment Velasquez Venice Venice etchings W. E. Henley water colour Whistler painted whole
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Seite 52 - 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 51 - 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...
Seite 21 - 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.
Seite 56 - A late lark twitters from the quiet skies; And from the west, Where the sun, his day's work ended, Lingers as in content, There falls on the old, gray city An influence luminous and serene, A shining peace. " The smoke ascends In a rosy-and-golden haze. The spires Shine, and are changed. In the valley Shadows rise. The lark sings on. The sun, Closing his benediction, Sinks, and the darkening air Thrills with a sense of the triumphing night — Night, with her train of stars And her great gift of...
Seite 20 - 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 21 - As music is the poetry of sound, so is painting the poetry of sight, and the subject-matter has nothing to do with harmony of sound or of colour.
Seite 52 - ... 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 song to the artist alone, her son and her master — her son in that he loves her, her master in that he knows her.
Seite 111 - A picture is finished when all trace of the means used to bring about the end has disappeared.
Seite 36 - The imitator is a poor kind of creature. If the man who paints only the tree, or flower, or other surface he sees before him were an artist, the king of artists would be the photographer.
Seite 35 - For if any be a hearer of the word, and not a doer, he is like unto a man beholding his natural face in a glass : for he beholdeth himself, and goeth his way, and straightway forgetteth what manner of man he was.