Title: The Life of James McNeill Whistler
Author: Elizabeth Robins Pennell
Joseph Pennell
Release date: November 16, 2014 [eBook #47363]
Most recently updated: October 24, 2024
Language: English
Credits: Produced by Brian Wilsden, Suzanne Shell and the Online
Distributed Proofreading Team at http://www.pgdp.net (This
file was produced from images generously made available
by The Internet Archive/American Libraries.)
Transcriber's Notes
Every effort has been made to replicate this text
as faithfully as possible. The last two illustrations, Whistler's Grave in Chiswick Cemetery adjoining
Chiswick Churchyard and Monument in Whistler's Memory at the United States Military
Academy at West Point are not included in the original "List of Illustrations".
These have been included. The footnotes have been moved to the end of their relevant chapters.
In the original book the Illustrations are indexed as "Facing Page nnn". These have been changed to refer
to the nearest page.
The cover has been created by the transcriber and is placed in the public domain.
BY
E. R. and J. PENNELL
NEW AND REVISED EDITION THE SIXTH
ILLUSTRATED
PHILADELPHIA
J. B. LIPPINCOTT COMPANY
LONDON: WILLIAM HEINEMANN
Printed in Great Britain
The Fifth Edition of our book was exhausted before war was declared, and not until peace was declared was it thought by the publishers advisable to issue this Sixth Edition, which has been revised and brought up to date, and contains new material and new illustrations. All the while we have been collecting and verifying documents, and all the while we have received suggestions, facts, and inquiries. The book has been published in French, but for the war it would have been long since translated into other languages. During these years of needless, senseless, useless horrors, the name and fame of Whistler have steadily grown. His works have served as propaganda—what a comment!—even the portrait of his mother has been used as a poster by the British, and his own portrait has obtained the glory of appearing as a tribute to the power of advertising. All the while, endless stories, most of them garbled from this book, when not invented, have gone from end to end of the world. Exhibitions of his paintings and prints and of documents relating to him have been held. Galleries and private collectors have acquired what little of his work was left to acquire. Even the National Gallery of Great Britain has accepted three of his pictures from the late Arthur Studd though Whistler had distinctly said that he did not wish to be represented in any English gallery. Dealers have found in his art inexhaustible attraction and asset for shows. Mr. Freer's collection in the National Museum, Washington, is about to open. Our collection is being installed in the Library of Congress, also in Washington—though it was damaged by unpardonable and undiscoverable carelessness in transit, caused by this cursed war. Washington must soon be visited to see Whistler as Madrid is to see Velasquez. All the while, too, the financial appreciation of Whistler—the standard by which art and everything is judged to-day—has vastly increased, the Mrs. Leyland and Lady Meux selling for more hundreds of thousands than he asked hundreds of dollars for. His etchings and lithographs have so improved in value in the collector's estimation that persons whom Whistler did everything to help in forming their collections have considered them too valuable to keep, and so have parted with them at an enormous rise over even his "posthumous prices." What would he have thought of all this, he who so carefully selected the prints "kindly lent their owners?"
Whistler, fortunately, has escaped the indignity of commercial popularity, but he has come into his own; his name and his fame are world-wide, he is with the immortals; we said so in the beginning, and time has proved us right. There have been no books of importance issued about him of late years, though contemporary authors who spurned him during his life now claim his acquaintance and add a paragraph or a page, mostly from our book, as a bait to sell their own. Miss Philip delays, or awaits the lapse of twenty years, before issuing the letters. When she does print them—if properly edited—they will be a great addition to the knowledge of Whistler. Mr. Freer announces also a life which is to supersede or expose us, or Whistler. Still they tarry, but anything they may issue will add to the success and, we trust, the completeness of the authorized Life of Whistler. We should be grateful for any further information, suggestions, or corrections to that end from any of our readers.
We wish to thank, for the permission to reproduce paintings and drawings, to consult letters and documents, Mrs. A. J. Cassatt, Mr. Mitchell Kennerley, Mr. Roland Knvedler, Messrs. Keppel and Company, Mr. George J. C. Grasberger, Mr. A. E. Gallatin, Mr. R. C. Frick, Mr. West, Colonel Hughes, Mr. E. G. Kennedy, The Metropolitan Museum of New York, The Maryland Institute, the Librarian of Congress, Dr. Putnam, and Dr. Koch, Mr. Roberts, and Miss Wright, also of the Library of Congress.
Joseph Pennell
Elizabeth Robins Pennell
Washington, July 4, 1919
Mr. and Mrs. Pennell's authorised Life of James McNeill Whistler appeared in two volumes in October 1908, and has had to be reprinted in that form three times since then. Its sale even in that comparatively expensive form has been an unexpectedly large one, proving without doubt that interest in Whistler's life is alive and growing. During the three years since its first publication much new material has come into the hands of the authors, and a complete revision of the book has therefore become necessary. The present volume is, to all intents and purposes, a new one. Many of the older illustrations in the earlier editions have been superseded by new ones, a number of which are reproduced for the first time.
For the new material included in this edition the authors and the publisher are indebted to friends and numerous sympathetic correspondents, and they wish to express their indebtedness especially to Mr. John W. Beatty, Director of the Carnegie Institute in Pittsburgh; Mr. E. D. Brooks; Mr. Clifford Gore Chambers; Mr. E. T. Cook; Mr. Leon Dabo; Mr. Frederick Dielmann; Messrs. Dowdeswell; M. Théodore Duret; Mr. A. J. Eddy; Mrs. Wickham Flower; Right Hon. Jonathan Hogg; Mr. H. S. Hubbell; Mr. Will H. Low; Mr. Burton Mansfield; Judge Parry; Mr. H. Reinhardt; Mr. H. S. Ridings; Mr. Albert Rouiller; Miss Alice Rouiller; Mr. William Scott; M. Ströhlen; Mr. Ross Turner; Mr. C. F. G. Turner; Mr. C. Howard Walker; Mr. J. H. Wrenn.
| Page | |
| CHAPTER I. THE WHISTLER FAMILY. THE YEARS EIGHTEEN THIRTY-FOUR TO EIGHTEEN FORTY-THREE | 1 |
| Whistler's Ancestors—His Parents—Birth—Early Years | |
| CHAPTER II. IN RUSSIA. THE YEARS EIGHTEEN FORTY-THREE TO EIGHTEEN FORTY-NINE | 6 |
| Life in Russia—Schooldays—Begins his Art Studies in the Imperial Academy of Fine Arts—Death of Major Whistler—Return to America | |
| CHAPTER III. SCHOOLDAYS IN POMFRET. THE YEARS EIGHTEEN FORTY-NINE TO EIGHTEEN FIFTY-ONE | 18 |
| The Pomfret School and Schoolmates—Early drawings | |
| CHAPTER IV. WEST POINT. THE YEARS EIGHTEEN FIFTY-ONE TO EIGHTEEN FIFTY-FOUR | 20 |
| Whistler as Cadet in the U.S. Military Academy— His Studies—Failure—Stories told of him—His Estimate of West Point | |
| CHAPTER V. THE COAST SURVEY. THE YEARS EIGHTEEN FIFTY-FOUR AND EIGHTEEN FIFTY-FIVE | 27 |
| Life in Washington—Obtains Position as Draughtsman in the U.S. Coast and Geodetic Survey—First Plates—Resignation—Starts for Paris | |
| CHAPTER VI. STUDENT DAYS IN THE LATIN QUARTER. THE YEARS EIGHTEEN FIFTY-FIVE TO EIGHTEEN FIFTY-NINE | 33 |
| Arrival in Paris—Enters as Student at Gleyre's —His Fellow Students—Adventures—Journey to Alsace | |
| CHAPTER VII. WORKING DAYS IN THE LATIN QUARTER. THE YEARS EIGHTEEN FIFTY-FIVE TO EIGHTEEN FIFTY-NINE CONTINUED | 46 |
| His Studies—Work at the Louvre— Visit to Art Treasures Exhibition at Manchester—Etchings—Paintings— Rejection at the Salon and Exhibition in Bonvin's Studio | |
| CHAPTER VIII. THE BEGINNINGS IN LONDON. THE YEARS EIGHTEEN FIFTY-NINE TO EIGHTEEN SIXTY-THREE | 53 |
| In London with the Hadens—First Appearance at Royal Academy—Kindness to French Fellow Students—Shares Studio with Du Maurier—Gaieties—Mr. Arthur Severn's Reminiscences—Work on the River—Jo— Etchings Published by Mr. Edmund Thomas | |
| CHAPTER IX. THE BEGINNINGS IN LONDON. THE YEARS EIGHTEEN FIFTY-NINE TO EIGHTEEN SIXTY-THREE CONTINUED | 63 |
| Paintings and Exhibitions—The Music Room—Visits to Mr. and Mrs. Edwin Edwards—Summer in Brittany—"The White Girl"—Berners Street Gallery—Baudelaire on his Etchings—Illustrations—Salon des Refuses—First Gold Medal | |
| CHAPTER X. CHELSEA DAYS. THE YEARS EIGHTEEN SIXTY-THREE TO EIGHTEEN SIXTY-SIX | 76 |
| Settles with his Mother at No. 7 Lindsey Row, Chelsea—The Greaves Family—The Limerston Street Studio and Mr. J. E. Christie—Rossetti—The Tudor House Circle, Swinburne, Meredith, Frederick Sandys, Howell—"Blue and White"—W. M. Rossetti's Reminiscences | |
| CHAPTER XI. CHELSEA DAYS. THE YEARS EIGHTEEN SIXTY-THREE TO EIGHTEEN SIXTY-FOUR CONTINUED | 86 |
| The Japanese Pictures—"The Princesse du Pays de la Porcelaine" —Japanese Influence—"The Little White Girl"—Fantin's "Hommage à Delacroix"—"The Toast"—Arrival in London of Dr. Whistler—At Trouville with Courbet—Journey to Valparaiso | |
| CHAPTER XII. CHELSEA DAYS CONTINUED. THE YEARS EIGHTEEN SIXTY-SIX TO EIGHTEEN SEVENTY-TWO | 97 |
| Return to London—Removal to No. 2 Lindsey Row— The House and its Decorations—The 1867 Exhibition in Paris— Affair at the Burlington Fine Arts Club—"Symphony in White, No. III." the First Picture Exhibited as a Symphony—Theories—Development—Discouragement —Mr. Fred Jameson's Reminiscences—Decoration—Hamerton's "Etching and Etchers"—Etchings and Dry-points—Exhibitions—Rejection at the Royal Academy—First Exhibition of Picture as a Nocturne—Relations to the Royal Academy | |
| CHAPTER XIII. NOCTURNES. THE YEARS EIGHTEEN SEVENTY-TWO TO EIGHTEEN SEVENTY-EIGHT | 112 |
| Nocturnes—Extent of Debt to Japanese— Methods and Materials—Subjects—Origin of Title—His Explanation in "The Gentle Art" | |
| CHAPTER XIV. PORTRAITS. THE YEARS EIGHTEEN SEVENTY-ONE TO EIGHTEEN SEVENTY-FOUR | 118 |
| The Mother"—"Carlyle"—"Miss Alexander" —Mr. and Mrs. Leyland—Mrs. Louis Huth—Show of his own Work in Pall Mall— Indignation roused by his Titles | |
| CHAPTER XV.THE OPEN DOOR. THE YEAR EIGHTEEN SEVENTY-FOUR AND AFTER | 128 |
| Whistler's Gaiety and Hospitality—His Amusement in Society— His Dinners and Sunday Breakfasts—Reminiscences of his Entertainments Talk—Clubs—Restaurants—The Theatre | |
| CHAPTER XVI. THE PEACOCK ROOM. THE YEARS EIGHTEEN SEVENTY-FOUR TO EIGHTEEN SEVENTY-SEVEN | 143 |
| Work at Exhibitions and in the Studio—Portrait of Irving— "Rosa Corder"—"The Fur Jacket"—"Connie Gilchrist"—The Peacock Room—Mr. Leyland's House in Prince's Gate—Its Decoration—Whistler's Scheme for the Dining-room and its Development—The Work Finished—Quarrel with Leyland | |
| CHAPTER XVII. THE GROSVENOR GALLERY. THE YEARS EIGHTEEN SEVENTY-SEVEN AND EIGHTEEN SEVENTY-EIGHT | 152 |
| Sir Coutt Lindsay's New Gallery—First Exhibition at the Grosvenor— Whistler's Contributions—Ruskin's Criticism of "The Falling Rocket" in "Fors Clavigera"—Whistler sues him for Libel—Etchings—Lithographs— Drawings of Blue and White for Sir Henry Thompson's Catalogue—Caricatures—Sends a Second Time to the Grosvenor | |
| CHAPTER XVIII. THE WHITE HOUSE. THE YEAR EIGHTEEN SEVENTY-EIGHT | 159 |
| Paris Universal Exhibition of 1878—Harmony in Yellow and Gold— Whistler as Decorator—Lady Archibald Campbell's Appreciation—Plan for Opening an Atelier for Students—No. 2 Lindsey Row given up—E. W. Godwin builds the White House for him—His Mother's Health—She leaves him for Hastings—Money Difficulties—Mezzotints of the "Carlyle" and Rosa Corder" | |
| CHAPTER XIX. THE TRIAL. THE YEAR EIGHTEEN SEVENTY-EIGHT | 166 |
| Whistler's Reasons for the Action against Ruskin— His Position and Ruskin's compared—Refusal of Artists to support Whistler— Trial in the Exchequer Chamber, Westminster—Verdict—The General Criticism— Mr. T. Armstrong and Mr. Arthur Severn on the Trial—Collection to pay Ruskin's Expenses—Failure to raise one for Whistler—"Whistler v. Ruskin" | |
| CHAPTER XX. BANKRUPTCY. THE YEARS EIGHTEEN SEVENTY-EIGHT AND EIGHTEEN SEVENTY-NINE | 181 |
| Whistler again at the Grosvenor—His Critics— His Financial Embarrassments—His Manner of meeting them—Declared Bankrupt— "The Gold Scab"—Commission from the Fine Art Society for the Venetian Etchings— Starts for Venice—The Sale of the White House—Sale of Blue and White, Pictures, Prints, &c., at Sotheby's | |
| CHAPTER XXI. VENICE. THE YEARS EIGHTEEN SEVENTY-NINE AND EIGHTEEN-EIGHTY | 189 |
| Whistler's Arrival in Venice—First Impressions—Disappointments and Difficulties—His Friends in Venice and their Memories of him—Duveneck and his "Boys"—Whistler's Hard Work—His Lodgings and Restaurants—The Cafés—Stories told of him—Reminiscences of Mr. Harper Pennington and Mr. Ralph Curtis | |
| CHAPTER XXII. VENICE. THE YEARS EIGHTEEN SEVENTY-NINE AND EIGHTEEN EIGHTY CONTINUED | 196 |
| His Work in Venice—Pastels and his Methods—Etchings— Printing—Japanese Method of Drawing—Water-colours and Paintings | |
| CHAPTER XXIII. BACK IN LONDON. THE YEARS EIGHTEEN EIGHTY AND EIGHTEEN EIGHTY-ONE | 202 |
| Return to London and Sudden Appearance at Fine Art Society's—Prints Venice Plates—Exhibition of "The Twelve" at the Fine Art Society's—Exhibition of Venice Pastels—Decoration of Gallery—Bewilderment of Critics and Public—Death of his Mother—"The Piper Papers"—The Portrait of his Mother exhibited in Philadelphia—Etchings begin to be shown in America | |
| CHAPTER XXIV. THE JOY OF LIFE. THE YEARS EIGHTEEN EIGHTY-ONE TO EIGHTEEN EIGHTY-FOUR | 210 |
| Takes a Studio at No. 13 Tite Street—His "Joyousness"—Letters to the Press—His "Amazing" Costumes—Portrait of Lady Meux—His Other Sitters—Mrs. Marzetti's Account of the Painting of "The Blue Girl"—Lady Archibald Campbell's Reminiscences of the Sittings for her Portrait—Portrait of M. Duret—"The Paddon Papers"—Second Exhibition of Venice Etchings at the Fine Art Society's—Excitement it created—The "Carlyle" at Edinburgh—Proposal to buy it for Scottish National Portrait Gallery—Comes to nothing—Whistler involved in a Church Congress | |
| CHAPTER XXV. AMONG FRIENDS. THE YEARS EIGHTEEN EIGHTY-ONE TO EIGHTEEN EIGHTY-SEVEN | 222 |
| Joseph Pennell meets Whistler—First Impressions—The "Sarasate"— Sir Seymour Haden | |
| CHAPTER XXVI. AMONG FRIENDS. THE YEARS EIGHTEEN EIGHTY-ONE TO EIGHTEEN EIGHTY-SEVEN CONTINUED | 225 |
| Whistler's Friends in Tite Street— Sir Rennell Rodd's Reminiscences—Oscar Wilde—Reasons for the Friendship and for its short Duration—The Followers—Their Devotion and their Absurdities— Mr. Harper Pennington's Reminiscences of Whistler in London | |
| CHAPTER XXVII. THE STUDIO IN THE FULHAM ROAD. THE YEARS EIGHTEEN EIGHTY-FIVE TO EIGHTEEN EIGHTY-SEVEN | 233 |
| Whistler moves to the Fulham Road—Description of the new Studio— Pictures in Progress—Mr. William M. Chase, his Portrait and his Reminiscences—Plans to visit America | |
| CHAPTER XXVIII. THE "TEN O'CLOCK." THE YEARS EIGHTEEN EIGHTY-FOUR TO EIGHTEEN EIGHTY-EIGHT | 239 |
| Whistler writes the "Ten O'Clock"—Proposes to publish it as Article— Then to deliver it as Lecture in Ireland—Exhibition of his Work in Dublin—Arranges with Mrs. D'Oyly Carte for Lecture in London—The "Ten O'Clock" given at Prince's Hall—The Audience—The Critics—Analysis of the "Ten O'Clock"—Its Delivery in Other Places—Its Publication—Swinburne's Criticism | |
| CHAPTER XXIX. THE BRITISH ARTISTS. THE RISE. THE YEARS EIGHTEEN EIGHTY-FOUR TO EIGHTEEN EIGHTY-SIX |
250 |
| Approached by the British Artists—Elected a Member of the Society— His Position as Artist at this Period and the Position of the Society—Reasons for the Invitation and his Acceptance—His Interest in the Society—His Contributions to its Exhibitions—The Graham Sale—Publication of Twenty-Six Etchings by Dowdeswell's—Exhibition of Notes, Harmonies Nocturnes, at Dowdeswell's—Elected President of the British Artists | |
| CHAPTER XXX. THE BRITISH ARTISTS. THE FALL. THE YEARS EIGHTEEN EIGHTY-SIX TO EIGHTEEN EIGHTY-EIGHT | 262 |
| Whistler as President—His Decoration of the Gallery and Hanging of Pictures—Indignation by Members—Visit of the Prince of Wales—Growing Dissatisfaction in the Society—Jubilee of Queen Victoria—Whistler's Congratulatory Address—British Artists made a Royal Society—Dissatisfaction becomes Open Warfare—The Crisis—Wyke Bayliss elected President—Whistler's Resignation | |
| CHAPTER XXXI. MARRIAGE. THE YEAR EIGHTEEN EIGHTY-EIGHT | 271 |
| Whistler's Wedding—Reception at the Tower House—His Wife—His Devotion—Influence of Marriage | |
| CHAPTER XXXII. THE WORK OF THE YEARS EIGHTEEN EIGHTY TO EIGHTEEN NINETY-TWO | 274 |
| Water-colours—Etchings, Belgian and Dutch—Exhibition of Dutch Etchings—Lithographs | |
| CHAPTER XXXIII. HONOURS. EXHIBITIONS. NEW INTERESTS. THE YEARS EIGHTEEN EIGHTY-NINE TO EIGHTEEN NINETY-ONE | 279 |
| Honours from Paris, Munich, and Amsterdam—Dinner to Whistler—Paris Universal Exhibition of 1889—Exhibition of Whistler's Work in Queen Square—Moves to No. 21 Cheyne Walk—M. Harry's Impressions of the House—Portrait of the Comte de Montesquiou—W. E. Henley and "National Observer"—New Friends | |
| CHAPTER XXXIV. "THE GENTLE ART." THE YEAR EIGHTEEN NINETY | 288 |
| Whistler Collects his Letters and Writings—Work begun by Mr. Sheridan Ford—Mr. J. McLure Hamilton's Account—Action at Antwerp to suppress Ford's Edition—Mr. Heinemann publishes "The Gentle Art" for Whistler—Summary of the Book—Period of unimportant Quarrels | |
| CHAPTER XXXV. THE TURN OF THE TIDE. THE YEARS EIGHTEEN NINETY-ONE AND EIGHTEEN NINETY-TWO | 298 |
| The "Carlyle" bought by the Glasgow Corporation—"The Mother" bought for the Luxembourg—The Exhibition at the Goupil Gallery—Mr. D. Croal Thomson's Account—Success of the Exhibition—The Catalogue—Commissions—Demand for his Pictures—Mr. H. S. Theobald's Reminiscences—Whistler's Indignation at Sale of Early Pictures by Old Friends—Invited to show in Chicago Exhibition—Not known at R.A.—Decorations for Boston Public Library | |
| CHAPTER XXXVI. PARIS. THE YEARS EIGHTEEN NINETY-TWO AND EIGHTEEN NINETY-THREE | 310 |
| Whistler goes to Paris to live—Joseph Pennell with him there in 1892 and 1893—Lithographs—Colour work—Studio in Rue Notre-Dame-des-Champs—Apartment in the Rue du Bac—Etchings printed—Afternoons in the Garden—Day at Fontainebleau—Wills signed—Mr. E. G. Kennedy's Portrait—Rioting in the Latin Quarter | |
| CHAPTER XXXVII. PARIS CONTINUED. THE YEARS EIGHTEEN NINETY-THREE AND EIGHTEEN NINETY-FOUR | 320 |
| Whistler's Friends in Paris—Mr. MacMonnies', Mr. Walter Gay's, and Mr. Alexander Harrison's Reminiscences—Mr. A. J. Eddy's Portrait—Portraits of Women begun | |
| CHAPTER XXXVIII. TRIALS AND GRIEFS. THE YEARS EIGHTEEN NINETY-FOUR TO EIGHTEEN NINETY-SIX | 327 |
| Du Maurier's "Trilby"—Apology—Mrs. Whistler's Illness—The Eden Trial—Whistler Challenges George Moore—In Lyme Regis and London—Portraits in Lithography—Mr. S. R. Crockett's Account of the Sittings for his Portrait—Mrs. Whistler's Death—New Will | |
| CHAPTER XXXIX. ALONE. THE YEAR EIGHTEEN NINETY-SIX | 336 |
| Work and Little Journeys—Mr. E. G. Kennedy's Reminiscences—Evenings with Whistler—Visit to the National Gallery—Whistler goes to live with Mr. Heinemann at Whitehall Court—Mr. Henry Savage Landor—Mr. Edmund Heinemann—Eden Affair—Last Meeting with Sir Seymour Haden—Christmas at Bournemouth | |
| CHAPTER XL. THE LITHOGRAPH CASE. THE YEARS EIGHTEEN NINETY-SIX AND EIGHTEEN NINETY-SEVEN | 346 |
| Mr. Walter Sickert's Article in "Saturday Review"—Joseph Pennell sues him for Libel—Whistler the Principal Witness—In the Witness-box under Cross-examination—Verdict—Whistler's Pleasure | |
| CHAPTER XLI. THE END OF THE EDEN CASE. THE YEARS EIGHTEEN NINETY-SEVEN TO EIGHTEEN NINETY-NINE | 350 |
| M. Boldini's Portrait of Whistler—In London—Visits to Hampton— Journey to Dieppe—The Eden Case in the Cour de Cassation—Whistler's Triumph—"The Baronet and the Butterfly"—The Whistler Syndicate: Company of the Butterfly | |
| CHAPTER XLII. BETWEEN LONDON AND PARIS. THE YEARS EIGHTEEN NINETY-SEVEN TO NINETEEN HUNDRED | 357 |
| Illness in Paris—Fever of Work—Portrait of Mr. George Vanderbilt— Other Portraits and Models—Pictures of Children—Nudes—Pastels—Spanish War—Journey to Italy—"Best Man" at Mr. Heinemann's Wedding—Impressions of Rome—Mr. Kerr-Lawson's Account of his Stay in Florence—Winter in Paris—Loneliness—Meetings with old Student Friends—Dr. Whistler's Death—Dinner at Mr. Heinemann's—Mr. Arthur Symon's Impressions of Whistler | |
| CHAPTER XLIII. THE INTERNATIONAL. THE YEARS EIGHTEEN NINETY-SEVEN TO NINETEEN HUNDRED AND THREE | 369 |
| The International Society of Sculptors, Painters, and Gravers—Whistler elected First President—Activity of his Interest—First Exhibition at Knightsbridge—Second Exhibition—Difficulties—Third Exhibition at the Royal Institute—Exhibitions on the Continent and in America— Whistler's Presidency ends only with Death | |
| CHAPTER XLIV. THE ACADÉMIE CARMEN. THE YEARS EIGHTEEN NINETY-EIGHT TO NINETEEN HUNDRED AND ONE | 377 |
| School opened in the Passage Stanislas, Paris—Whistler and Mr. Frederick MacMonnies propose to visit it—History of the School written, at Whistler's request, by Mrs. Clifford Addams—Her Account—His Methods—His Advice—His Palette—Misunderstandings—Mrs. Addam apprenticed to Whistler—Men's Class discontinued—Third Year begins with Woman's Class alone—School closed—Mr. Clifford Addams made an Apprentice—Mr. MacMonnies' Account—Comparison with Other Art Schools | |
| CHAPTER XLV. THE BEGINNING OF THE END. THE YEAR NINETEEN HUNDRED | 393 |
| Whistler authorises J. and E. R. Pennell to write his Life and Mr. Heinemann to publish it—Whistler gives his Reminiscences—Photographing began in Studio—Paris Universal Exhibition—Interest in the Boer War—The "Island" and the "Islanders"—The Pekin Massacre and Blue Pots—Domberg—Visit to Ireland—Sir Walter Armstrong's Reminiscences of Whistler in Dublin—Irritation with Critics of his Pictures in Paris—Increasing Ill-health in the Autumn—Serious Illness—Starts for the South | |
| CHAPTER XLVI. IN SEARCH OF HEALTH. THE YEARS NINETEEN HUNDRED AND ONE AND NINETEEN HUNDRED AND TWO | 407 |
| Tangier—Algiers—Marseilles—Ajaccio—Winter in Corsica— Visit from Mr. Heinemann—Dominoes—Rests for the First Time—Return to London in the Spring—Work in the Summer—Illness in the Autumn—Bath—No. 74 Cheyne Walk—Annoyances—Journey to Holland—Dangerous Illness in The Hague—Mr. G. Sauter's Account of his Last Visit to Franz Hals at Haarlem | |
| CHAPTER XLVII. THE END. THE YEARS NINETEEN HUNDRED AND TWO AND NINETEEN HUNDRED AND THREE | 423 |
| Return to No. 74 Cheyne Walk—Illness—Gradual Decline—Work— Portraits—Prints—Exhibition of Silver—Degree of LL.D. from Glasgow University—St. Louis Exposition—Worries—Last Weeks—Death—Funeral—Grave | |
| APPENDIX | 437 |
| INDEX | 439 |
G., after an etching, refers to the Grolier Club Catalogue of Whistler's Etchings, 1910
W., after a lithograph, refers to Mr. T. R. Way's Catalogue of Whistler's Lithographs, 1905
| Page | |
| Portrait of the Artist (By Himself) (Oil) | Frontispiece |
| In the George McCulloch Collection | |
| Portrait of Whistler as a Boy (By Sir William Boxall) (Oil) | 12 |
| In the Charles L. Freer Collection, National Gallery of American Art | |
| The Two Brothers (Miniature) | 12 |
| Lent by Miss Emma Palmer; formerly in the possession of Mrs. George D. Stanton and Miss Emma W. Palmer | |
| Bibi Lalouette (Etching. G. 51) | 20 |
| Street at Saverne (Etching. G. 19) | 20 |
| From the "French Set" | |
| La Mère Gérard (Oil) | 24 |
| In the possession of William Heinemann | |
| Head of an Old Man Smoking (Oil) | 24 |
| In the Musée du Luxembourg | |
| Portrait of Whistler (Etching. G. 54) | 40 |
| Sketches of the Journey to Alsace (Pen Drawings) | 40 |
| Portrait of Whistler in the Big Hat (Oil) | 44 |
| In the Charles L. Freer Collection, National Gallery of American Art | |
| Drouet (Etching. G. 55) | 44 |
| At the Piano (Oil) | 52 |
| In the possession of Edmund Davis, Esq. | |
| Wapping (Oil) | 52 |
| In the possession of Mrs. Hutton | |
| The Thames in Ice, the Twenty-fifth of December 1860 (Oil) | 60 |
| In the Charles L. Freer Collection, National Gallery of American Art | |
| Rotherhithe (Etching. G. 66) | 60 |
| From the "Sixteen Etchings" | |
| The Music Room—Harmony in Green and Rose (Oil) | 68 |
| In the possession of Colonel F. Hecker | |
| Annie Haden (Dry-Point. G. 62) | 68 |
| The White Girl—Symphony in White, No. I. (Oil) | 76 |
| In the possession of J. H. Whittemore, Esq. | |
| Jo (Dry-Point. G. 77) | 76 |
| The Blue Wave (Oil) | 84 |
| In the possession of A. A. Pope, Esq. | |
| The Forge (Dry-Point. G. 68) | 84 |
| From the "Sixteen Etchings" | |
| The Morning before the Massacre of St. Bartholomew | 92 |
| (Wood-Engraving from "Once a Week," vol vii. p. 210) | |
| The Last of Old Westminster (Oil) | 92 |
| In the possession of A. A. Pope, Esq. | |
| Portrait of Whistler (By Himself) (Chalk Drawing) | 104 |
| Formerly in the possession of Thomas Way, Esq. | |
| Weary (Dry-Point. G. 92) | 104 |
| Study in Chalk for the Same | |
| Formerly in the possession of B. B. MacGeorge, Esq. | |
| The Lange Leizen of the Six Marks—Purple and Rose (Oil) | 108 |
| In the J. G. Johnson Collection, Philadelphia | |
| The Balcony—Harmony in Flesh-Colour and Green (Oil) | 108 |
| In the Charles L. Freer Collection, National Gallery of American Art | |
| La Princesse du Pays de la Porcelaine—Rose and Silver (Oil) | 112 |
| In the Charles L. Freer Collection, National Gallery of American Art | |
| Variations in Violet and Green (Oil) | 112 |
| In the possession of Sir Charles McLaren, Bart. | |
| The Little White Girl—Symphony in White, No. II. (Oil) | 124 |
| In the National Gallery, London | |
| Portrait of Dr. Whistler (Oil) | 124 |
| In the possession of Burton Mansfield, Esq. | |
| Valparaiso Bay—Nocturne: Blue and Gold (Oil) | 132 |
| In the Charles L. Freer Collection, National Gallery of American Art | |
| Symphony in White, No. III. (Oil) | 132 |
| In the possession of Edmund Davis, Esq. | |
| Whistler's Table Palette (Photograph) | 144 |
| In the possession of Mrs. Newmarch | |
| Sea Beach with Figures (Study for the Six Projects) (Pastel) | 144 |
| The Three Figures—Pink and Grey (Oil) | 144 |
| In the possession of Alfred Chapman, Esq. | |
| Nocturne—Blue and Green (Oil) | 148 |
| In the National Gallery, London | |
| Nocturne—Blue and Silver (Oil) | 148 |
| In the possession of the Executors of Mrs. F. R. Leyland | |
| The Mother—Arrangement in Grey and Black (Oil) | 160 |
| In the Musée du Luxembourg | |
| Portrait of Thomas Carlyle—Arrangement in Grey and Black, No II.(Oil) | 160 |
| In the Corporation Art Gallery, Glasgow | |
| Portrait of Cicely Henrietta, Miss Alexander—Harmony in Grey and Green (Oil) | 164 |
| In the National Gallery, London | |
| Portrait of F. R. Leyland—Arrangement in Black (Oil) | 164 |
| In the Charles L. Freer Collection, National Gallery of American Art | |
| Portrait of Mrs. F. R. Leyland—Symphony in Flesh-Colour and Pink (Oil) | 172 |
| In the possession of H. C. Finck, Esq. | |
| Portrait of Miss Leyland (Pastel) | 172 |
| In the possession of the Executors of Mrs. F. R. Leyland | |
| Portrait of Mrs. Louis Huth—Arrangement in Black, No. II. (Oil) | 180 |
| In the possession of the Executors of the Family | |
| Fanny Leyland (Study for the Etching. G. 108) (Pencil Sketch) | 180 |
| Formerly in the possession of J. H. Wrenn, Esq. | |
| Whistler in his Studio (Oil) | 196 |
| In the Chicago Art Institute | |
| Maud Standing (Etching. G. 114) | 196 |
| Portrait of Sir Henry Irving as Philip II. of Spain—Arrangement in Black, No. III. (Oil) | 200 |
| In the Metropolitan Museum, New York | |
| Portrait of Sir Henry Cole (Oil) (Destroyed) | 200 |
| From a photograph lent by Pickford R. Waller, Esq. | |
| Portrait of Miss Rosa Corder—Arrangement in Black and Brown | 208 |
| In the possession of H. C. Finck, Esq. | |
| The Peacock Room (Photograph) | 208 |
| In the Charles L. Freer Collection, National Gallery of American Art | |
| Drawing in Wash for "A Catalogue of Blue and White Nankin
Porcelain, forming the Collection of Sir Henry Thompson." London: Ellis and White. 1878 |
216 |
| In the possession of Pickford R. Waller, Esq. | |
| Study (Lithotint. W. 2) | 216 |
| From a print lent by T. R. Way, Esq. | |
| Tall Bridge (Lithograph. W. 9) | 224 |
| From a print lent by T. R. Way, Esq. | |
| Nocturne (Lithotint. W. 5) | 224 |
| From "Notes" published by Goupil From a print lent by T. R. Way, Esq. | |
| Old Battersea Bridge—Nocturne in Blue and Gold (Oil) | 232 |
| In the National Gallery of British Art, Tate Gallery | |
| The Falling Rocket—Nocturne in Black and Gold (Oil) | 232 |
| In the possession of Mrs. S. Untermeyer | |
| The Bridge (Etching. G. 204) | 244 |
| From the "Second Venice Set" By the permission of Messrs. Dowdeswell | |
| The Doorway (Etching. G. 188) | 244 |
| From the "First Venice Set" By the permission of the Fine Art Society | |
| The Beggars (Etching. G. 194) | 252 |
| From the "First Venice Set" By permission of the Fine Art Society | |
| The Rialto (Etching. G. 211) | 252 |
| From the "Second Venice Set" By the permission of Messrs. Dowdeswell | |
| Portraits of Maud (Oil) (Destroyed) | 258 |
| From photographs lent by Pickford R. Waller, Esq. | |
| Jubilee Memorial from the Society of British Artists to Queen Victoria, 1887 (Illumination) | 258 |
| In the Royal Collection at Windsor | |
| Portrait of Lady Meux—Harmony in Pink and Grey (Oil) | 268 |
| In the possession of H. C. Finck, Esq. | |
| The Salute, Venice (Water-Colour) | 268 |
| In the possession of B. B. MacGeorge, Esq. | |
| The Yellow Buskin—Arrangement in Black (Oil) | 276 |
| In the Wilstach Collection, Memorial Hall, Philadelphia | |
| Portrait of M. Théodore Duret—Arrangement in Flesh-Colour and Pink (Oil) | 276 |
| In the Metropolitan Museum, New York | |
| Portrait of Pablo Sarasate—Arrangement in Black (Oil) | 304 |
| In the Carnegie Institute, Pittsburgh | |
| Portrait of Lady Colin Campbell—Harmony in White and Ivory (Oil) (Destroyed) | 304 |
| From a photograph lent by Pickford R. Waller, Esq. | |
| Annabel Lee (Pastel) | 312 |
| In the Charles L. Freer Collection, National Gallery of American Art | |
| The Convalescent (Water-Colour) | 312 |
| In the possession of Dr. J. W. MacIntyre | |
| Portrait of Miss Kinsella—The Iris, Rose and Green (Oil) | 328 |
| In the possession of Miss Kinsella | |
| Whistler at his Printing Press in the Studio, Rue Notre-Dame-des-Champs, Paris | 328 |
| From a photograph by M. Dornac | |
| Illustration to Little Johannes Portrait of a Lady (Drawings on Wood) |
336 |
| In the Pennell Collection, Library of Congress, Washington | |
| Water-Colour Landscape | 336 |
| Loaned by Mrs. Mortimer Menpes | |
| The Master Smith of Lyme Regis (Oil) | 340 |
| In the Boston Museum of Fine Arts | |
| The Smith, Passage du Dragon (Lithograph. W. 73) | 340 |
| Portrait of Mrs. A. J. Cassatt | 344 |
| The Beach (Water-Colour) | 344 |
| In the possession of Mrs. Knowles | |
| Shop Window at Dieppe (Water-Colour) | 344 |
| The Thames (Lithotint. W. 125) | 348 |
| Firelight—Joseph Pennell, No. I. (Lithograph. W. 104) | 348 |
| From "Lithography and Lithographers" By the permission of T. Fisher Unwin, Esq. | |
| Study in Brown (Oil) | 356 |
| In the possession of the Baroness de Meyer | |
| Study of the Nude (Pen Drawing) | 356 |
| In the possession of William Heinemann, Esq. | |
| The Little Blue Bonnet—Blue and Coral (Oil) | 360 |
| Formerly in the possession of Wm. Heinemann, Esq. | |
| Rose and Gold—Little Lady Sophie of Soho (Oil) | 360 |
| In the Charles L. Freer Collection, National Gallery of American Art | |
| Model with Flowers (Pastel) | 368 |
| In the possession of J. P. Heseltine, Esq. | |
| Girl with a Red Feather (Oil) | 368 |
| In the possession of the Executors of J. Staats Forbes | |
| A Freshening Breeze (Oil) | 376 |
| In the possession of J. S. Ure, Esq. | |
| Lillie in Our Alley—Brown and Gold (Oil) | 376 |
| In the possession of J. J. Cowan, Esq. | |
| The Sea, Pourville (Oil) | 388 |
| In the possession of A. A. Hannay, Esq. | |
| The Coast of Brittany—Alone with the Tide (Oil) | 388 |
| Formerly in the possession of Ross Winans, Esq. | |
| The Fur Jacket—Arrangement in Black and Brown (Oil) | 388 |
| Picture in Progress:From a photograph lent by Pickford R. Waller, Esq. Completed Picture:In the Worcester Museum, Massachusetts | |
| Portrait of Mrs. Walter Sickert | 404 |
| In the possession of Mrs. Cobden-Sanderson | |
| Portrait of Miss Woakes | 404 |
| In the possession of Messrs. Knvedler and Co. | |
| The Chelsea Girl | 416 |
| Portrait of E. S. Kennedy | 416 |
| In the Metropolitan Museum, New York | |
| Gallery at the London Memorial Exhibition | 428 |
| Gallery at the Boston Memorial Exhibition | 428 |
| Whistler's Grave in Chiswick Cemetery adjoining Chiswick Churchyard | 428 |
| Monument in Whistler's Memory at the United States Military Academy at West Point | 428 |