New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1903-08-03
WHISTLER'S ART
Impressions of an afternoon in His
Studio.
London. July 10


upon the dead painters characteristic American
ism. IF America. too" he says. after comment
ing upon the misfortune Of London. OF. rather 40
the British nation, in failing to understand thar
great artists work and genius. knew little %
his true character she knows less that with
him of the tTUest and most patriotic Amsri-
cans has just passed away" That is well sad.
but surely American who ever met him
suspected him Of being disloyaI 20 his own coun-
try. His inexhaustibe energy his enthusiasm
for his work and his whimsical humor vsrs
American qualities. which his countrymAn
discevned and valued Alright. and II they wera
proud of him and the variety and high order %
his accomplishments, so also he was not
ashamed Of the home soil from which he had
sprung. If he took a serious view Of his art
doing everything as Mr.. Pernell has said, with
all his heart with all his might and with all his
soul" and working always with the dignity %
the great artist" il because he was con-
WINGED that his country's fame was associated
with his own honorable achievements.
am tempted to revive my own earliest i'm
pressions of Mr.. Whistler because there is cor
roborative proof in them of his characteristic
Americanisu- l first met him in Paris about
eight years ago. I had been spending the morn
ing in Mr., Mac0Ionnies's studio with my friend.
Mr. F. r. Kennedy, of New-YOrk, and was easily
persuaded after luncheon to accept an invita-
studio and had the advantage OF a personal m
PRODUCTION from the sculptor. The welcome
which We three Americans received was mos.
cordial He suspended work with sitter Or
model and devoted himself during a long after
noon to our entertainment The studio was az
the top of the building-a large room with ilt,ls
furniture and no ornaments or bric-A-brac. bur
with an abundance OF light. He explained the
barrenness of the environment naturally enough
by remarIxing that he did not like to be dis
tracted or disturbed when he painted, and was
content to see his subject clearly. and nothing
else. The studio was. however, well furnished
for u.s. for it contained seven eight portraits,
mainly of American women. and these he offered
to exhibit for our entertainment How we'll
remember the seriousness and dignity with
which he acted as master OF ceremonies. and
also the flashes OF hunor which Illuminated hs
| conversation! His appreciation OF the merits oe
his own work was evident enough, yet thers
was touch OF patriotic pride when he cOurted
the admiration OF three fellow Americans, and
with it a whimsical pleasantly in expressing hiss
complete satisfaction with every canvas.
| The Snowman. who in Que of his most
| genial and least cynical moods, had no idea OF
| overwhelming his visitors by turning all his
| art at once. That is what happens on show
| Sundays, when all the pictures brought iatoi
| full light and admirers patrons are expected
to compare one with another and 20 express theirs
| preferences to their host. The portraits in Mr.
Whistler's studio were all set with faces 70 the
J wall. and each brought out in turn and
| placed on an easel. to be looked az by itsetl
| without reference to the other works. In eachl
| instance there was an interval OF painstakins
preparation, and when the visitors were at ths
| right distance and in a proper state Of expec-
fancy the curtain was removed The painter.
with his air of distinction. invariably Joined his
guests and surveyed the work with a more criti-
cal glance than theirs; and since 1t clearlyi
his own preference that nothing should be said
| for a few minutes. the silence was unbroken.
| When there had been ample time for compre-
hensive and detailed survey OF the portrait. COM
! ments were exchanged and criticisms were in
! vited and when full justice had been done to ths
| subject and to the art processes the picture was
| covered and returned to its own place. with thu
| face to the WALL before another work was Of
| fered for inspection The Snowman. withOus
| doubt, was a pOseur. with Alterations OF his
| own: but he neither prig nor a snob. and
| what might have been described superfcaly
/ as egotism or overweening vanity was merely
/ the honest artists devotion to high ideals and
the essential dignity and nobility OF great work.
| in which the effect OF every stroke and every
relation of value had been carefully calculated.
| At one stage Of the exhibition Mr. Whistles
| turned abruptly to Mr.. MacMonnies with the In,
cisive question. What do you think Of herr"
| The sculptor cast a side glance and Looked
| down. hesitated, and finally bIurted out the,
| truth. Since you force me TO speak, he said.
Il must tell you that one leg is longer than the
| other" Ny friend and I. remembering what a
| reputation the painter had as an autocrat in
| his art. expected storm IN the studio. Mr.
| Whistler gazed intently at the portrait walked
| up and down in front OF it. measured the figure
with his eye from various points Of view. and
finally said quietly: You are quite right I
! had not observed the fault 1 shall correct it
| in the morning" This not an exhibition
| of the gentle art of making enemies, was ie
| a display OF imperious temper and contsmptu-
Gus disdain OF conflicting opinion. The scuIptors
eye had detected flaw in the proportions and
| symmetry Of the figure. and the painter. instead
| of resenting criticism with that cynical badi-
mage of which he was an acknowledged master.
| accepted the correction with humility and prof
tied by 1t without word OF controversy. What
| an eye for line a sculptor has he said with
| unaffected admiration, and a few minutes after
| ward he took me into a corner and cOmmendet
Mr.. MacMonnies's work as 4 sculptor with IN
disguised sincerity. speaking OF him as an
American whose talent had been recognized and
appreciated by the best artists on the Continent.
and adding that his friends took great pride IN
him as representative Of American art one OK
the most vivid impressions which have re-
tanned of that delightful afternoon in N1r Whist
lers studio that of the loyalty of the painter
to the art and the artists Of his country
He was not man without a country, long as
had been his residence abroad, fascinated as ne
was by the artistic associations Of Paris. and
deeply as he was attached TO London. where ina
best OF his work as an etcher had been done
Mr.. Whistler was essentially a workmanliks