The Minneapolis journal. [volume] (Minneapolis, Minn.) 1888-1939, 1906-09-23
Art Aids for
Busy p eople
H. By MARTHA q. WELLS.
Copyright, 1905.
XXXI1I. James McNeill Whistler,
n. Painter, Etcher.

il Is att career H. Whiftlsr
- Ay, enclosed IN circle, as his
symbol Or signature It seemed pecu-
liarly appropriate in view of the
ephemeral character Of his works, but
those who attempted to give practical
expression Of their dislike by breaking
the butterfly in hostile criticism found
that instead Of being crushed, it arose
to new and stronger life. In later
presidency Of the Royal Society of
British Artists. at a. banquet in his
honor, the chairman alluded. to this
signature, giving him :, the name of
"Papilio Mordens,' declaring that his
art and the biting satire Of his writ
ings, combined with ethereal beauty a
sting as piercing as wasp.
Born in Lowell, Mass, his y father
Washington; his grandfather. Irish,
from whom he inherited his wit and
satire. His mother belonged to an arts
tocratic Baltimore family, and her an
cestors were among the earliest settlers
of the southern states. In an official
capacity Whistler s father took his
family. to st. Petersburg when the son
was but eight years: old, remaining
there until his death, seven years later:
AeOCOA AAhS w 61u1c14Cd<1u 4CfOs
was scarcely 81 when he again left his
native land for art study. in Paris. He
planned at different times to revisit the
United States, but never did So: His
residence abroad covers all the period
Of his art work, altho by birth, origin.
ality, versatility and other characters
tics he may truly be classed as an
American and is usually claimed in the
list of our distinguished men. Foreign
call him oocmon01itan
Whistler $ art work belongs to the
transition period of the nineteenth
century; the great artists of the French
Barbizon school, turning their backs or
| cenventionalism and old traditions, hv
| ing close to nature, gave to art new
and intimate Interpretation which late
resulted in the great movement Of thu
lmpressionists: In England group o.
men known. as the pre- Raphaelites Dor
iowed their motives. from the past. Int
this period Of rediscoveries or new as
art as an original genius. At first great
~ misunderstood, public opinion wa
divided on his merits. To some he re
vealed the subtle charm of obscure
beauty, evoking out Of chaos them
essentially his own, finding in the elu
sive Shadows intangible shapes, tn
black and white or tender grays, tn
material for his so-called nocturnes,
symphonies, - and "harmonies. ,
There were others who called him tri
fer, were shocked that in color harmo
MES he. eliminated a. subject and coul,
see nothing to admire in his modern in
dependence and egotism.
Fun i'll an English Law Court.
After studying in Paris and the con
tInent, and setting permanently in Lon
don at an exhibition at Grosvenor gal
lery in 1877, containing many Of Whist
1er's combination of color, severe crit
cism eliminated by arousing the wratl
Of j ohm :Ruskin, then at the zenith O
i his fame as an art critic. In his match
less literary style he attacked the al
lists work, at length, saving in con
clusion, ~ have seen and heard smuc
of~coekEey zimpudence before now, bu
never expected TO- hear g. seoxcomb as]
| two hundred guineas for,rfinging 20
9f paint in-the jp9bli 9 * fac" Whist
damage. =, The trial eestased the creates
interest lasting two days., the, artist
fun the English ever had, in a court o
law:N = The. one farthing damages
which the plaintiff received he wore a
his watch charm, regarding it as a trc
ply. Of victory. "A subscription paid til
| legal: expenses incurred by Ruskin.s Th
publicity given by the trial was an .e1
fective advertisement for the ridicule
nocturnes and symphonies i. an
cleared the ublic mind from the ide
that a combination Of color, must. hav
a definite name, ,or~ be considered
finished picture: j2;f> -. 3D.
From the great Spanish artist, Velas