Image from page 188 of “Life of James McNeill Whistler,” (1911) – Melbourne Picture

Image from page 188 of

Identifier: jamesmcnei00penn
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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Text Appearing Before Image:
tchings was so badlymanaged that the Jubilee series brought more, when re-sold a fewweeks after the King parted with them, than his Majesty got for thewhole collection. During Whistlers lifetime important collections ofhis etchings were acquired also by the Museums of Dresden, Venice,and Melbourne, and the New York Public Library. The success of Whistlers plates during the following years is acontrast to the fate of his pictures, which for a long period wereneglected. He had nothing in the Academy of 1868. Mr. Jamesonhas told us of his despair because the Three Girls was not finished intime, and of their wandering together about town, in and out of galleriesand museums, until at last, before Velasquez in the National Gallery,Whistler took heart again. And he delighted in the admiration ofSwinburne in Notes on Some Pictures oj 1868. The paintings whichhad not been submitted to the loose and slippery judgment of anacademy, but had been seen by Swinburne in the studio and seemed108 [1868

Text Appearing After Image:
HARMONY IN FLESH-COLOUR AND GREENTHE BALCONY on.In the possession of Charles L. Freer, Esq. {See page 86) Chelsea Days 😮 him to have grown as a flower grows, were evidently the Projects. special quality of Whistlers genius, Swinburne said, is a freshnessmd fullness of the loveliest life of things, with a high, clear poweripon them which seems to educe a picture as the sun does a blossom3r a fruit. In 1869 the Academy moved to Burlington House, and there in1870 Whistler showed The Balcony. From 1867 to 1870 he did notshow in the Salon. Whistler, like Rossetti, was never without hispublic, though many years passed before he received Rossettis rewards.He could rely on the Ionides, Leathart, Frederick Leyland, Huth,Alexander, Rawlinson, Anderson Rose, Jameson, Chapman, Potter.But, unlike Rossetti, he wanted to show his work and receive for itrewards. As far back as 1864 Fantin wrote to Edwin Edwards ofWhistlers perseverance, his determination to get into the Salon, a phaseof his charact

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Tagged: , bookid:jamesmcnei00penn , bookyear:1911 , bookdecade:1910 , bookcentury:1900 , bookauthor:Pennell__Elizabeth_Robins_ , booksubject:American_Art , bookpublisher:J__B__Lippincott_company , bookcontributor:Whitney_Museum_of_American_Art__Frances_Mulhall_Achilles_Library , booksponsor:Metropolitan_New_York_Library_Council___METRO , bookleafnumber:188 , bookcollection:whitneymuseum , bookcollection:artresources , bookcollection:americana

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