The sun. [volume] (New York [N.Y.]) 1833-1916, 1906-12-23
WHISTLER AT TIE METROPOLI-
TAN MUSEUM OF ART.

The Whistler n~octurne, which tho Met
ropolitan Museum owes to the generosity OF
Mr.. Fahnestock. having suffered from the
rigors of our climate, had TO be temporarily
withdrawn from exhibition. Now that it
has come back again, revarnished, 1t is FOR
the first time possible to realize h a pos
session this picture is. There are'pictures
which, as they say, ARREST the attention
after the manner ofthe speaking likeness.
They are not always the best. There are
others In which the artist demands a more
active cooperation on the part OF the spec
tator. and OF such a kind is Whistler's
nocturne. Mr.. Okakura in his Illuminating
work The Book of Tea says that the spec
tator's mind lie the anvss on which the
artist paints. Whistler in this nocturne
makes certain demands on this mental can-
vas before he will inscribe thereon the poetic
vision which his spirit conceived. To those
who will not or cannot extend to the artist
this active receptivity the picture becomes
matter for easy ridicule, but those who have
had the patience and the sensibility to re-
ceive the impress OF Whistler's idea may
pity their less fortunate n~eighbors; they
need scarcely grudge them the mild fun
that can always he got by n determined
misunderstanding of subtle and profound,
even elemental truths.
And for such boisterous merriment this
picture has always supplied material. II
was one of those dragged into an English
law court and held up to the derision OF
twelve good British jurors, who, on this
occasion at least, had no difficulty in APP
preoiating the Bench's jokes. But the
laugh ia already on the other side. We nave
learned much about art in the last quarter
Of a century, and much OF what we have
learned Whistler had already foreseen.
The art OF China and japan no longer seems
to us a quaint absurdity; we realize that in
J it's greatest efforts it is more perfect and
infinitely more pure than our own. The
East has never suffered as We have from the
puerile desire for mere representation. II
has never suffered from perspective and
oil painting, two excellent servants but two
intolerable masters. 1t has kept with a
more logical rigor to the idea that art is
primarily q means of expression, and that,
like music, painting can justify itself only
by the aptness Of the means il employs to
accomplish that end.
What good would it nave done US now il
Whistler had represented Cremorne Gardens
by night? No more than a back number
Of the illustrated London Nens might afford.
But instead he has opened the gates, not to
vulgar reality of a subscription entertain
ment in a suburban garden, but to the real
beauty and significance, the mystery and
romance, OF night itself. So that those who
have lost by age and custom the enchant-
ment which it once brought can here ~rejuve-
nate and enrich their souls.
Not but that there is much here that il
critically and fully observed. There is no
doubt, il we like to inquire, that those danc-
ing nymphs really belong to the '7Os OF last
century, so cunningly and 80 justly are the
slight indications of their demodes frocks
given. But we are not importuned to be-
come psychologists here.
No, it is not a record of a forgotten demi-
monde but a nocturne expressed in tone
and color only. And why not in these alone.
just as much as our drawings are in line
alone2 The name Whistler chose, a noe
turne, defines it perfectly, for il emphasizes
the purely musical quality Of his art.
But Whistler's music is as discreet as il
is exquisite; it is OF no more use to stimulate
conversation or to drown IL than a piece by
Rameau played upon a clavichord. But to
the attentive listener what a melody is here
what exquisite notes of pale blue, bun, apple
green and deep orange red upon a fond of
indefnable blue, green and green gold.
There is not here a single passage OF merely
vague unintentional color; every single note
is found with a certainty and a freshness
hat is marvellous. Every tint is so ad-
justed that as We perceive it the value Of
every other tint beconresi neutrality-suspicious.
ned Each one In demanded by the rest, like
the close Of a me lody, but zach time we
recognize it there comes a moment Of sur
prise as well az recognition, so simple and
yet so unexpected are the discoveries OF
genius.
Nor, il Whistler's spirit will forgive us for a
heresy which he himself denounced in his
Ten O'clock, need the spectator stop shor:
here at a purely sensual enjoyment. For
whether he willed il or not there is a poetry
which speaks to the mind. The heavy foil
aged elms loom dimly upon the warm.
moist air of a summers night, rendered
duskily Opalescent by the drifty smoke of
fireworks. Here and there little : booths
glimmer family in the gaslight and under
festoons of lamps the girls are dancing in
a round. But all that one can translate into
words is but a pale Intellectual image. The
mood is what counts. The mood Of almost
listless ~reverie. Of a~loofness and purity from
all the ordinary interests of life, the mood
OF an Oriental contemplation Of the eternal
rhythm Of growth and decay. And to think
how furious Whistler would be!