Life of James McNeill Whistler, (1911) (14596905149)

Identifier: jamesmcnei00penn (find matches)
Title: Life of James McNeill Whistler,
Year: 1911 (1910s)
Authors: Pennell, Elizabeth Robins,
Subjects: American Art
Publisher: J. B. Lippincott company
Contributing Library: Whitney Museum of American Art, Frances Mulhall Achilles Library
Digitizing Sponsor: Metropolitan New York Library Council - METRO



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ron September 9, 1878. It was sold to Mr. Canfield in 1903 for twothousand pounds. Though these mezzotints were successful whenpublished, collectors thought as little of them as they did at the timeof those of a century earlier, and for years proofs signed by bothartist and engraver could be picked up for less than the published price. After the two pictures had been engraved by Josey, Howelldeposited in the same way three of the Nocturnes with Graves:The Falling Rocket, The Fire Wheels Old Batter sea Bridge—Blue andGold, and also The Fur Jacket. These pictures were not engraved.Whistler had not a minute to spare from legal troubles and impatientcreditors. Poor J. turned up depressed—very hard up, and fearfulof getting old, Mr. Cole wrote in his diary for October 16, 1878.Whistler had reason for depression. It was now that Howells diaryrecords his purchase of the Irving for ten pounds and a sealskin coat.There is nothing more tragic in the story of Rembrandts bankruptcy. 164 (1S78
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PORTRAIT OF CICELY HENRIETTA, MISS ALEXANDER HARMONY IN GREY AND GREEN In the possession of \Y. C. Alexander, Esq. (See page 120) The Trial CHAPTER XIX : THE TRIAL. THE YEAR EIGHTEENSEVENTY-EIGHT. The case, the action Whistler v. Ruskin, was heard on November 25-26,1878. John Ruskin, leader of taste, critic of art, prophet, and propounderof the gospel of the Beautiful, led not only a devout following,but that enormous mass of the public which believes blindly inBritons. Whistler knew that either he or Ruskin must settle thequestion whether an artist may paint what he wants in his own way,though this may not be understood by the patron, the critic, theAcademy, or the real British judge, the man in the street ; whetherthe artist should rule or be ruled The case was, Whistler said,I between the Brush and the Pen. His motives were ignored, theproceedings made a jest, and the verdict treated as a farce. Fewcould, or do, realise that he was in earnest, that the trial was a defenceof his pri