New-York tribune., 1885-03-08
"OUR JAMES'S TEN O'CLOCK"
ART ABOVE NATURE AND THE ARTIST
ABOVE THE CRITICS.

ABOVE THE CRITICS.
TFRoM An OCCASIONAL CORRESPONDENT or IHE TRIDISEl
LONDON, February 10.
private and particular rehearsal of Mr..
Whistler's aTen O'Clock came of at private
Souse last night. Mr. Archibald Forbes. the famous
war correspondent of The Daily Ne,cs, and few
other friends composing the audience. Mr..
Whistlers work is distinctly a surprise. Wit,
hun,or and epigram were expected as matter OF
conrse He gave these. and great deal more in the
shape of coherent purpose and distinct aim. Mr..
Whstler's work q painter and as nm etcher II
too we'll known TO need notice at this moment. By
those ignorant of the nadnces of art he has been
supposed to be the English or rather the American
exponent of The French idea of " impressonism" As
an old student of Gleyre and long resident IN Paris
be knows every phase of modern French art but it
;s not to this only that he addresses himself. Mr.
Whistler is far beyond lippancy in his Ten
O'Clockr and enuuciates views of which the denser
norton of Eugshmen sorely IN need ln
delicious fashion he "preaches." as he calls ii,
AGAINST the tendency of the age to vuigarize every
thing by reducing il 10 the capacity OF the COM
mop.n If not actually a" uncean." At the outset OF
his discourse which may at once say is charming
in style aud studded with eplthets and expressions
distinguished by the genuine cTiosd teiicitds, Mt
Whistler deprecates the present attitude OF the
world toward art, which is "nOt that OF worship
ing goddess but an allectaton OF o, the ioTsst
barnaid under the chin" 1t is this "effrontery y
on the part of the many which has at last reused
the Preacher filled with rebellion against sense
less Intrusion" Art is not only goddess but a
dainty one, sufficiently occupied with her own
perfection ana her own chosen children, such as
Rembrandt Paoo VeTonese, NeasQncz and the
sculptors of the Venus Of NJ o and the Elgin
marbles" These were filled with the true "portry
of science" not to be confounded with the sent-
ment often mistaken for poetry by which the
nobility of the action depicted Is hopeessly lin ked
with its artistic expression. Mr. Whistler strongly
deprecates the custom OF speaking of artistic
specially artistic periods" Men went on with
their work from the time when the hrst artist
of Velasquez, but the " faculty OF creaton-the
heirloom of the true artist has been accorded to
few" Or old arose from time TO time the man
upon whom the gods had set their mark" The
amateur vas unknown, the dIlettante undreamt
Of" At last came new class Who saw wealth IN
the discovery and adoption OF shams i" and took
unto themselves the abominaton. The artist van
| sbed and the shOpkeeper and manufacturer took
his place" And the end Of this was that art L" was
| relocated to the curiosity shop"
Pursuing his theory of the high mission of art and
his rejection of any idea that 1t Is the outcome OF
| popular otherwise vnlgar-thonght.. Mr. Whistler
maintains that the function of the artist is to pick
| and choose" not to make n mere transcript oil
| nature, who is very rarely right" This reminds
me of something heard Professor Iyndall once Say
| while | was attending his course OF lectures on
| OPTICS The matter under discussion was what Is
called the bind spot in the eye and the various
ptber shot t'siShtsd Nature said Dr. ohm Tynda
| works very we'll in rough kind of way for tn,
| good Of her creatures but she seldom attains
scientific accuracy" Mr. Whistler sniites oheudlnl
| Nature on the other-I had nearly written with
| artistic @cheek." He continues: Seldom doe
| Nature succeed in producing pictures" Now ant
| then she makes very foolish sunset" At Othe
| times she produces effects absolutely priceless
| There are times when "Eace is welded will
| dignity" when a whole vast city like LondoI
| hangs I'm tho heayenso when the perfection o.
| color Is expressed IN @the citron wing of butter
| hy." All these marvels. however. require to b'
passed through tho brain OF the artist as through
I" q last crucibIe."
Mr. Whistler next falls foul of his pet victims. tb
critics. declaring that the unattached writer Is th
0i 50 tss ss Iron" ra
painter and his public" These persons instead o
pointing out real and technical blnuders, talk a
random Of artist as falling utterly" and of h
picture being triumph of mere execution" Al
this is trash, crsde Whistler. who dismisses th.
learned and antiquarian critics with the remarl
that tney Sconsider date an accomplishment
sage Of the University, learned in all things saw
his subject" and who 1perpetuates the bnnder o
cOnfounding art with education" Thus is folly. TO
q it is no reproach that should have no eye TO
Ks oppressed by an "incubus of artp and by tn
| asympatny of vulgarty. The dilettante stalk
abroad; the amateur Is loosed. Art and Joy g.
hand Ia hand but Art has no correlation will
one at Nankn or at Madrid" Just now MI
Whistler holds that Art is especially rare and tina
the goddess who "dipped the Spaniards brush il
light and air. is become puPpct for the deiecta
The effect Of the DISCOURSE OF which have onl
given q faint idea, may be imagined when 1t !
deli vered by Mr. Whistler himself in sweet ric
voice and prononnced with that G nea.ness .;n wn'c g
his feet to the white tuit, like an esIets crcs'
i which rises above his black and curly locks