The times dispatch. [volume] (Richmond, Va.) 1903-1914, 1907-02-03
THE WORKS or JAMES McNE1LL
WHISTLER BY Elizabeth Luther
Cary Published by Moffat, Yard *

WHISTLER. BY Elizabeth Luthei
Cary. Published by Moffat Yard <
Company. of New York.
Miss Chry's valuable book contains
PLENTIFUL reproductions of Ministers
beginnings. hts etchhGs. autographs
end pustcls lt shows Whistler IN his
French environment the Introduction
Into his art Of the japanese element and
the influence upon him Of his English
environment a tentative list of the
artists works In oil Autograph and
etching renders the work. as a whole,
most complete and satisfactory,
Just n rev urtists Of pen and brush
Impress themselves ltpon the century
In which they live by their inuivtdual. -
and power by their knowledge of es-
sontiais and non essentials in art and
literature. so tint whenever the eye
falls upon their work IL pays its in
slant tribute of recognition and respect
for the quality In II that .distingttshes
y, and sets II apart from less vital
work around IL.
Probably no man, certainly no Ameri-
can. Of his day was better known for
the artistic value OF mss work than
James Mcneil Whistler Already q
recognized worker, he went to study
in Glcyre's Paris ateilcr toward the
close OF the year 1853 OF pen and
INK drawing, made when he was a
schoolboy OF sixteen or seventeen, Miss
Cary says; "snch line tells its essen
iial fact In the composition; there are
no foolish accessories; tnero Is no un-
certainty of handling Apparently the
impression was formed in the mind
witch entire precision before the pen
began to translate IT.
The fact OF Whist1er's important COM
positions was painted during n visit
paid by him to his sister in England.
1T was called AT the Piano. and was
exhibited a the Royal Academy in 1860.
and is thus beautifully described by
NJ Benedite, who says regarding it:
In a softiyiighted interior. a wo-
man. seated at the left of the canvas.
is playing on the piano; at the right
stands a little girl leaning on the piano
and listening in an attentive attitude.
Tile originals We're Whistler's sls/er.
Lady Haden. and her daughter, Annie"
The mother is wholly in profile, In a
black dress; the little girl is all in
white with blonde hair falling on her
shoulders. Under the piano, violin and
violinrello cases repeat the black note
of the dress on the floor is n cover
ing of plain red which corresponds to
the rcd covering of the round table be-
hind Mrs Haden, on which is placed a
Chinese cup decorated N blue and gold.
The background. very light and soft
is of grayish-whtte with bands OF wa
ter-green and gold
The lust agreement of these sober
Disseminated tones, these reds and rus
sets. these BLACKS and whites, these
grays and Colds; the relation of the
figures to the background from which
they detach themselves quietly. bathed
In atmosphere; the flesh-tones suffuSed
with limpid brilliancy as though soft
ened by the glow of light: the trans
parency OF the shadows; the caressing
vibration of the lights; the whole
precious canvas of the rarest sensbili-
~ evokes the memory OF the salon of
1883 to which it was sent
Another picture in which the dual
charm OF two nations-English and
French-is blended was painted two
years later than the first mentioned,
and was called The Music Room" The |
subject shows an interior with three
figures, one a girl in riding habit, !
the second a little girl reading the
third lady of middle age. seated at a !
piano, and seen only by the reflection /
Of her figure in the mirror. The whole :
group in its pleafant environment has
s kind OF frank lovahleness rare enough
in any art, and in modern art increas-
ingly rare The scene is English.
touched by French reasonableness and
American sentiment Subiectively and
effectively lovely. the Music Room is
slant in Whistler's career when he
painted domestic scenes"
Whistler decided to settle himself in
london in 1863, and accordingly estab-
lished himself in cheyne Walk, in tho
near ueiEhborhood of Rosetti OF this
period OF tho artists life, examples
given arc THE White Girl a sym
phony in white, followed by two others
in the same series, the last containing
two figures. The first mentioned in the
series is considered IAN essentially
original work, marking indeed dis
tinct step toward the realization OF a
strictly personal ideal"
The influence OF Japanese art on
Whistler's brush is touched upon inter-
estingly in reference 60 and criticisms
upon such pictures of his as Die LANCE
Leizen of the Six Marks" represent
Ing Chinese girl Tnpape1 in nutptipo
a pot, and Rose and silver: La Prn-
cess du Pays de la Porcelaine" The
model for the former was Miss Leyland.
That for the Princess was Christine
Spartali, younger sister of the Marie
spartali who posed for Rosetti's Fla
meta
During the latter part of Whistler's
life, Miss Cary informs one that he
records of character that were In the
portraits though n:.t identified as such.
Accordingly. drawing of his portrait
OF Carlyle and one Of that of his mother
are introduced to illustrate the authors
theory.
The author goes on to say; "The
portrait OF Miss Cicely Henrietta Alex
ander Is not only q Harmony in the
Gray and Green it is an interpreta-
ton, conscious or otherwise, OF the
spirit of childhood; not only its inno-
cence. but its pride; not only its fresh
spontaneity and charm, but the inter
rogation and knowledge, The buoyant
little figure stepping forward. her hair
luminous blonde cloud against light
background; her eyes turned toward
the spectator, her beautiful little dress.
transparent AMI crisp, standing out from
the slim form, her hat with its trail
Ing plume held in nonchalant hand.
behind her jaunty spray of daisies,
about her head two fiuttering butter
flies and a color scheme harmonizing
with all the other suggestions OF youth
and dainty beauty"
From the portraits the reader passes