New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1895-06-02

you know them In broad daylight AS to what the
picture represents that depends upon who looks at
IL. To persons Il may represent all that Is
intended; to others 1t may represent nothing Con-
tnuing in to other interrogatons MI
Whistler averred that the figures on the top OF the
bridge lust what you Ike and that his
whole scheme was only TO bring about certain
harmony Of color" These words Of his are elo-
quent for they indicate his entire point OF view.
He met and fought In London the opaque tradition
typined by Mr.. Ruskins atrabilious charge He
maintained unswervingly the principle when emer-
ges clearly enough from the remarks we quote,
the principle that art exists for its own sake that
when the artist chooses "a certain harmony OF
color Is sufficient in itself and that all the bridges
and lawyers in the world may pass while that
harmony is pursued. Whistler has battled for his
principle in amusing ways. His Ten O'Clock Lee
ture" has become famous. The catalogue In which
he refuted the critics of his etchngs by citing their
own words possess an equal celebrity. But all this
be studied In The Gentle Art Of Making Enc
mics" TO which the reader IS referred
In his work Whistler has expressed himself with
rs much nnaty In his witticisms. and more ur-
bancly He has been prolific workman His
etched plates include studies made at various times
Italy in the Low Countries, In France and in
England. His paintings arc numerous. most or
them portraits, but several of them compositions
similar to that noctirne in black and white the
Fireworks a. Cremorne." which aroused Mr.. Rus
kins wrath. In instance, at least he has es-
sayed strictly decorative work, adjoining the walls
Of that remarkable Peacock Room" Of which we
give fragmentary sketch. Iatter,y he has taken
10 photography, and has achieved with the stone
delightful results in black and white and In
color In all this great collection OF pictures It IS
doubtful If there IS anything without the quality
If distinction without the charm OF great artistic
Individuality expressing itself with erortless COM
,,ctcncss. II IS high praise. but not too high Mr..
Whistler was. after ALL far from the truth
when he made the wel-known reply TO silly adj
mirer who said there were only two great painters.
Whistler and Velasquez. why drag in Nelas-
quez?" said the American. and all things consid
cred. he right. A OF genius stands alone.
and Whistler is an isolated painter. II may be sail
OF him. II said OF Sargent in this place
fortnight ago that ne resembles NelasqueZ. but
that does not place him In the Spaniard's debt any
more than it makes him imtator OF Rembrandt
to say that he and the Dutchman have points IN
common. Masters often have points In common,
but in the ultimate resort they stand on their own
merits. You may say of Rembrandt. of Velasquez.
that they each had simplicity. but that gives
count Of Mr. Whisters simplicity, his greatest gift
and his most original II is curious fact that
while the elements of portrait by Eeiasquez and
another one by Whistler may be much the same
neutral color suave modelling breadth Of light and
shade. dircctncss of psychological analysis COM
IN the accessores-the unit Of effect which blooms