The Gentle Art of Making Enemies Part 41

"Whistler, with three portraits which he is pleased to call 'Arrangements,' and which look like ghosts."

_Truth._

"Some figure pieces, which this artist exhibits as 'harmonies' in this, that, or the other, being, as they are, mere rubs-in of colour, have no claim to be regarded as pictures."--_Scotsman._

"We are threatened with a Whistler exhibition. The periodical inflictions with which this gentleman tries the patience of a long-suffering public generally take some fantastic form to attract attention. It is an evidence of the painter's worldly acuteness that this should be so, for public attention may be drawn by such outbursts of eccentricity to such work as would never impress sensible people on its bare merit."--_Oracle._

9.--NOCTURNE.

BLUE AND SILVER.

_Lent by Mrs. Leyland._

"It seems to us a pity that an artist of Mr. Whistler's known ability should exhibit such an extraordinary collection of pictile nightmares."--_Society._

"MR. BOWEN: 'Do you consider detail and composition essential to a work of art?'

"MR. JONES: 'Most certainly I do.'

"MR. BOWEN: 'Then what detail and composition do you find in this "Nocturne"?'

"MR. JONES: 'Absolutely none.'

"MR. BOWEN: 'Do you think two hundred guineas a large price for that picture?'

"MR. JONES: 'Yes, when you think of the amount of earnest work done for a smaller sum.'"

_Evidence of Mr. Jones, R.A., Westminster, Nov. 16, 1878._

10.--NOCTURNE.

IN BLACK AND GOLD--THE FALLING ROCKET.

"A dark bluish surface, with dots on it, and the faintest adumbrations of shape under the darkness, is gravely called a Nocturne in Black and Gold."

_Knowledge._

"His Nocturne, black and gold, 'The Falling Rocket,' shows such wilful and headlong perversity that one is almost disposed to despair of an artist who, in a sane moment [_sic_], could send such a daub to any exhibition."--_Telegraph._

"For Mr. Whistler's own sake, no less than for the protection of the purchaser, Sir Coutts Lindsay ought not to have admitted works into the gallery in which the ill-educated conceit of the artist so nearly approached the aspect of wilful imposture. I have seen, and heard, much of c.o.c.kney impudence before now, but never expected to hear a c.o.xcomb ask two hundred guineas for flinging a pot of paint in the public's face."

_Professor John Ruskin, July 2, 1877._

"The 'Nocturne in black and gold' is not a serious work to me."

_Mr. Firth, R.A.--Evidence at Westminster, Nov. 16, 1878._

"The 'Nocturne in black and gold,' I do not think a serious work of art."

_The Art Critic of the "Times."

Evidence at Westminster, Nov. 16, 1878._

"The Nocturne in black and gold has not the merit of the other two pictures, and it would be impossible to call it a serious work of art.

Mr. Whistler's picture is only one of the thousand failures to paint night. The picture is not worth two hundred guineas."

_Evidence of Mr. Jones, R.A.

Westminster, Nov. 16, 1878._

11.--NOCTURNE--OPAL AND SILVER.

_Lent by H. Theobald, Esq._

"With what feelings must we regard the mad new style, the Nocturnes in 'Blue and Silver,' the Harmonies in Flesh-colour and Pink, the Notes in Blue and Opal."--_Knowledge._

"The blue and black smudges which purport to depict the 'Thames at Night.'"--_Life._

12.--HARMONY IN GREEN AND ROSE.

THE MUSIC ROOM.

_Lent by Madame Reveillon._

"He paints in soot-colours and mud-colours, but, far from enjoying primary hues, has little or no perception of the loveliness of secondary or tertiary colour."--_Merrie England._

13.--CREPUSCULE IN FLESH COLOUR AND GREEN.

VALPARAISO.

_Lent by Graham Robertson, Esq._

"Now, the best achievement of The Impressionist School, to which Mr.

Whistler belongs [_sic_], is the rendering of air--not air made palpable and comparatively easy to paint, by fog--but atmosphere which is the medium of light."--_Merrie England._

14.--CAPRICE IN PURPLE AND GOLD.