The Gentle Art of Making Enemies Part 4

A. MOORE.

"Nov. 28."

Extract of a letter to the Editor of the _Echo_.]

The witness having pointed out the excellences of that portrait, said: "I think Mr. Whistler had great powers at first, which he has not since justified. He has evaded the difficulties of his art, because the difficulty of an artist increases every day of his professional life."

Cross-examined: "What is the value of this picture of t.i.tian?"--"That is a mere accident of the saleroom."

"Is it worth one thousand guineas?"--"It would be worth many thousands to me."

[Sidenote: "It was just a toss up whether I became an Artist or an Auctioneer."--W. P. FRITH, R.A.

_REFLECTION:_

He must have tossed up.

[Ill.u.s.tration]]

Mr. FRITH was then examined: "I am an R.A.; and have devoted my life to painting. I am a member of the Academies of various countries. I am the author of the 'Railway Station,' 'Derby Day,' and 'Rake's Progress.' I have seen Mr. Whistler's pictures, and in my opinion they are not serious works of art. The nocturne in black and gold is not a serious work to me. I cannot see anything of the true representation of water and atmosphere in the painting of 'Battersea Bridge.' There is a pretty colour which pleases the eye, but there is nothing more.

To my thinking, the description of moonlight is not true. The picture is not worth two hundred guineas. Composition and detail are most important matters in a picture. In our profession men of equal merit differ as to the character of a picture. One may blame, while another praises, a work. I have not exhibited at the Grosvenor Gallery. I have read Mr. Ruskin's works."

[Sidenote: _REFLECTION:_

A decidedly honest man--I have not heard of him since.

[Ill.u.s.tration]]

Mr. Frith here got down.

Mr. TOM TAYLOR--Poor Law Commissioner, Editor of _Punch_, and so forth--and so forth:--"I am an art critic of long standing. I have been engaged in this capacity by the _Times_, and other journals, for the last twenty years. I edited the 'Life of Reynolds,' and 'Haydon.'

I have _always_ studied art. I have seen these pictures of Mr.

Whistler's when they were exhibited at the Dudley and the Grosvenor Galleries. The 'Nocturne' in black and gold I do not think a serious work of art." The witness here took from the pockets of his overcoat copies of the _Times_, and with the permission of the Court, read again with unction his own criticism, to every word of which he said he still adhered. "All Mr. Whistler's work is unfinished. It is sketchy. He, no doubt, possesses artistic qualities, and he has got appreciation of qualities of tone, but he is not complete, and all his works are in the nature of sketching. I have expressed, and still adhere to the opinion, that these pictures only come 'one step nearer pictures than a delicately tinted wall-paper.'"

[Sidenote: _REFLECTION:_

To perceive in Ruskin's army Tom Taylor, his champion--whose opinion he prizes--Mr. Frith, his ideal--was gratifying. But to sit and look at Mr. Burne Jones, in common cause with Tom Taylor--whom he esteems, and Mr. Frith--whom he respects--conscientiously appraising the work of a _confrere_--was a privilege!!

[Ill.u.s.tration]]

This ended the case for the defendant.

Verdict for plaintiff. Damages one farthing.

[Ill.u.s.tration]

_Professor Ruskin's Group_

My dear Sambourne--I know I shall be only charmed, as I always am, by your work, and if I am myself its subject, I shall only be flattered in addition.

[Sidenote: _The World_, Dec. 11, 1878.]

[Sidenote: A pleasant _resume_ of the situation--in reply to Mr. Sambourne's expressed hope that his historical cartoon in _Punch_ might not offend.]

_Punch_ in person sat upon me in the box; why should not the most subtle of his staff have a shot? Moreover, whatever delicacy and refinement Tom Taylor may still have left in his pocket (from which, in Court, he drew his ammunition) I doubt not he will urge you to use, that it may not be wasted. Meanwhile you must not throw away sentiment upon what you call "this trying time."

To have brought about an "Arrangement in Frith, Jones, _Punch_ and Ruskin, with a touch of t.i.tian," is a joy! and in itself sufficient to satisfy even my craving for curious "combinations."--Ever yours,

[Ill.u.s.tration]

_Whistler v. Ruskin_

_ART & ART CRITICS_

[Ill.u.s.tration]

_Chelsea, Dec. 1878._

[Ill.u.s.tration]

_Dedicated to_

_ALBERT MOORE_

_Whistler v. Ruskin: Art and Art Critics_

The _fin mot_ and spirit of this matter seems to have been utterly missed, or perhaps willingly winked at, by the journals in their comments. Their correspondents have persistently, and not unnaturally as writers, seen nothing beyond the immediate case in law--viz., the difference between Mr. Ruskin and myself, culminating in the libel with a verdict for the plaintiff.

Now the war, of which the opening skirmish was fought the other day in Westminster, is really one between the brush and the pen; and involves literally, as the Attorney-General himself hinted, the absolute "raison d'etre" of the critic. The cry, on their part, of "Il faut vivre," I most certainly meet, in this case, with the appropriate answer, "Je n'en vois pas la necessite."

Far from me, at that stage of things, to go further into this discussion than I did, when, cross-examined by Sir John Holker, I contented myself with the general answer, "that one might admit criticism when emanating from a man who had pa.s.sed his whole life in the science which he attacks." The position of Mr. Ruskin as an art authority we left quite una.s.sailed during the trial. To have said that Mr. Ruskin's pose among intelligent men, as other than a _litterateur_ is false and ridiculous, would have been an invitation to the stake; and to be burnt alive, or stoned before the verdict, was not what I came into court for.

Over and over again did the Attorney-General cry out aloud, in the agony of his cause, "What is to become of painting if the critics withhold their lash?"