Ajaccio,281Albany,33Allen, Sir William,35America, attitude towards,52-53;desire to visit,22;trip to South America,22-23American appreciation,15-17;art, future of,63-64;characteristics,64-65Americanism, Whistler’s,47-48Ancestors,25-28Anecdotes and sayings, as a teacher,277-281;attitude towards America,52-53;authenticity of stories,81-82;bailiff in the “White House,”112-113;Balaam’s ass,84-85;blue-and-white china,70;Boer war,45;Carlyle portrait,123;colors and pigments used,72-73;concerning a sitter,238-239;concerning birth,29;concerning Carlyle and Miss Alexander,121;concerning Chicago,27;concerning each portrait,241-242;concerning his portraits,255;concerning poor lawyers,148;concerning purchasers,265-266;concerning sittings required,30-31;continually polishing,84-85;Dieppe,34;disintegration of the Royal Society of British Artists,218;early days in Paris,86-88;early days in Venice,92-95;effacing an insult,43;falling down stairs,114;first money earned with brush,80-81;Henry James,85;his umbrella,227;Hogarth,55;house-painters,212;late to dinner,29-30;Leighton,82-84;in lithography suit,103;man whose coat did not fit,42;“Nana,”151-153;Napoleon and I,281;Nature looking up,214;necktie of a sitter,191;no artistic period,73-78;old Delft,71;painting in the dark,214;“Peacock Room,”129;of Peter the Great,35;railway accident,33-34;rebuking an admirer,162;rich man’s house,56;Rossetti,111;Royal Academy,116-119;Savoy Hotel,181;school,61;selling his pictures,274-275;Stoeckl dinner,40-41;story of “The Yellow Buskin,”119-120;studio on ground floor,229;the arrangement in gray,194;the color of a critic’s clothes,195;the grocer’s shop,193-194;the millionaire,276;the model and the red background,280;the pupil who smoked,279;the republic and Whistler,281;the Ruskin trial,144-147;the studio stove,231;to the Prince of Wales,217;trip to Valparaiso,22-23;unwelcome callers at studio,228;visit of students to his studio,134-135;“warm personal enemy,”156;West Point,36;while in service of Coast and Geodetic Survey,37-41Angelo, Michael,253Appearance and characteristics,36;alertness,85;a poser,149-155;approachable, except in studio,227-228;as a story-teller,224;at home,222;attitude towards art and artists,122;attitude towards nature,213-216;attitude towards other artists,56;attitude towards purchasers,265-272;attitude towards the Royal Academy,115-119;careless about keeping list of works,90;courage,42-43;dilatory habits,37-41;dress when a young man,41-42;George Moore’s theory,168-172;his Americanism,47-78;his dislikes and prejudices,271-272;laugh,119;military spirit,45-46;no commercial instinct,111;no mystery about his art,106-108;on the street,226;Puritan element,49-50;refinement,50;sense of humor,82;superstitions,44;susceptibility to color intervals,191-195;West Point,44;when twenty,38-40Art, abstract use of color,211;and physique,168-172;early love for,35;harmonies in line,182;his paintings and poetry,182;of pure line,180-181;Oriental,176;purely sensuous,180Artistic period,73-78Autograph character of work,105-106Balcony,” “The,58Baptism,32Baronetvs.The Butterfly,266-270Beauties of form and color,185-186Beethoven,257;relation to,176Birth,28-29,31-32Boston, proposed exhibition of pictures,20Bouguereau,277Boxall, Sir William,53-54Brothers and sisters,32Burne-Jones,176;Ruskin trial,146Carlyle,119;and Froude,122-123;as a friend,121-122Catalogues,167-168,265;of exhibition in 1892,160-161;of lithographs,104.See ExhibitionsCharacter. See Appearance and characteristicsChelsea, Carlyle as neighbor and sitter,121-122;Carlyle’s description,109-111;death and last illness,285-286;early days in,109;his last home,281-286;the bailiff,112-113;“White House,”112-113;“White House” occupied by a critic,114Chicago, grandfather founded,26-27Chinese and Japanese art,181;autograph character of Japanese art,105-106;blue china,61;degradation of Japanese art,78;influence of,55Chiswick, buried at,286Coast and Geodetic Survey,39-40Color, “ability to feel,”208;abstract composition,197;and the musical scale,195-196;art of pure color,180-181;beauties of,185-186;decoration,128-135;first color harmonies,58;his own explanation of,178-180;illustrated in different pictures,211;in Italy and Greece,198;of sculptor,206;range of color-notes,189-191;Ruskin’s attitude towards,158-160,199-208;Ruskin trial,145-146;sense of, lost,183-184;supreme as a colorist,173;the house-painter and decorator,186;used imitatively,204,207,209;Whistler’s susceptibility to,191-195Colorist. See ColorCommercial side, lacking,265-276Conversation, a lost art,149-151Courage,33,36,42-43Criticism, language of,161Criticisms in America,15-16Critics, arraignment of, in catalogue,98-102,160-161,167-168Critics and criticisms, attitude towards,162-165;early criticism of Turner,142-143;George Moore,168-172;his attitude towards,155-157;his color harmonies not understood,184;is the painter the final judge?,162-165;order of appreciation,173-175;Ruskin’s attitude towards color,158-160;“Voice of a People,”165-167Dealers, attitude towards,276Death and last illness,285-286Decoration,127-133;as a decorator,131-135;in home in Paris,220-222;“Peacock Room,”128-131,209Dieppe,33-34Dress,41-42Eden, Sir William,267-270England’s indifference,47-49Englishman’s stupidity,16Etchings, appreciation of a collector,96-97;of Haden,96;catalogues of,91;early French criticism,60;“French Set,”90;Haden collection of,96;his first,88-89;his “Venice Set,”91;“Thames Set,”91;“Twenty-six Etchings,”91Exhibitions, 1868,177;1893,65;at Antwerp,263;at Chicago,263;at London,265;at Paris, 1894,24,264;at the Royal Academy,114-119;criticisms of,98-101;his catalogues,99-101;light and background required for his pictures,134-139;of etchings, 1883,97;of lithographs,104;reluctant about exhibiting,262-264;Society of American Artists in 1903,284-285;Society of British Artists,136;special,120-121;with artificial light,135;“Yellow and White,”98,132Family,25-28;brothers and sisters,32;father,27-28,35;mother,28;mother’s diary,34-35Fine Arts Society,121Foreword,7Form, appreciation of,203Fort Dearborn, grandfather built,26-27French art, influence of,57-60;criticism, early,59-60Frith,177;Ruskin trial,146Fur Jacket,” “The,65Gainesborough,249,250Gentle Art of Making Enemies,” “The,32,154-155Glasgow and the Carlyle portrait,124;school,55Gleyre,57,59,79Gold Screen,” “The,58Greece, art of,63Grosvenor Gallery,119Haden,32,88-89,96Hague, The, illness at,281-284;letter from,282-284Hanging of pictures,124-128Harmonies, symphonies, and nocturnes, his explanation of,178-180“Hermes,” by Praxiteles,261Hogarth,55,249,250Honors and awards,264Impressionism,72Ingres, copy of painting by,80-81Interior decorator,127-128International Society,121Irish ancestors,25,47Italian painters, influence of,71-72Japanese art and influence of,55.See Chinese and Japanese artKhayyam, Omar,243Lange Leizen,” “The,58Leyland, F. R.,128-131Light and background for pictures,134-139;as distinguished from color,160Lithographs, naming of,183Lithography,102-104,180. See Exhibitions, CataloguesLowell,31-32Manet,249-250Marines,24,274-275Marriage,219Method. See WorkMiss Alexander,50,119“Mona Lisa,”251Moore, “Modern Painting,”168-172Mother, diary of,34-35;portrait of,53-54,58,115Music,176-177;and color,193;and painting,179;and the color scale,195-196;range of sounds,186-188;the uneducated ear,196;“truths of sound,”203-204National influence,61-78Nature and art,213-216;and color,216;and music,215Naval Academy,37Nocturnes,119. See PicturesNude, attitude towards,50-51Painting and music,179;flat tones,212;his manner and mode of,231-237Paris as an art centre,62-63;early days in,86-88;home life in,222-224;in 1855,79;Rue du Bac,219;studio,131,132Pastels,106-107“Peacock Room,”128-131,209;trouble over payment,129-130Phidias,253Philadelphia,120Physical appearances. See Appearance and characteristicsPicture galleries,124-128Pictures, arrangement of, by periods,211;“At the Piano,”114,210;Carlyle portrait,123-124;estimation of,261;exhibition of, to visitors,133-135;“Falling Rocket,”140;hanging of, a lost art,124-128;hanging of portrait of his mother,115;“Lange Leizen,”210;marines,212;naming of,178,183,185;“Nocturnes,” “Harmonies,” and “Symphonies,”210,211;present prices of,114-115;“The Princess of the Land of Porcelain,”58,128,210;“Little Rose, Lyme Regis,”273;story of “The Yellow Buskin,”119-120;Symphonies in White, II. and III.,210;“Thames in Ice,”210;“The Balcony,”210;“The Gold Screen,”210;the Japanese group,210,211;“The Music Room,”210;“White Girl,”59-60,109,210,282;“The Yellow Buskin,”65.See PortraitsPomfret,36Portraits, classification of,248;color compositions,258;difference between Whistler and Velasquez,256-258;each one to be a masterpiece,241-242;his best,261-262;Irving as Philip II.,119;Lady Campbell,119;likeness,258-262;manner and mode of painting,231-237;Miss Gilchrist,119;of Lady E——,269;portrait-painting,244;sittings required,30-31,235;wraith-like quality,255Praxiteles,261“Propositions” and “The Ten o’Clock,”108Providence,32Puritan element,49-50Racial influence,61-78Raphael,253Rembrandt,67,175,244,253,254,255,256;essentially Dutch,67Reynolds, Sir Joshua,247,249,252Rosa Corder,119Rossetti,111Rossi, Carmen, school of,277-281Royal Academy, attitude towards,114-119;exhibitions at, etc.,114-119Royal Society of British Artists,217Rue du Bac,219Ruskin and flat tones,212;attitude towards color,158-160,199-208;attitude towards early criticism of Turner,143;color in his home,207-208;his limitations,165;suit,140-149Savoy Hotel,181Sayings. See Anecdotes and sayingsSchool, no American,61-63;of Carmen Rossi,277-281Sculptor and portrait busts,245-246Society of British Artists, exhibition of,136Sounds, range of musical,186-188Springfield,33St. Petersburg,27-28,34-35Stonington,32,35Stories. See Anecdotes and sayingsStudio, description of,230-231;in Paris,229Swinburne,74,177Taylor, Tom,146Teacher, as a,277-281“Ten o’Clock,” no artistic period,73-78Time, dilatory habits,37-41;indifference to,29-31;never prompt,30Travel, dislike for,33-34;effect of, on artists,69-70Turner and color,199;early criticism of,142-143;Whistler’s appreciation of,56Valparaiso, trip to,22-23Velasquez,60,175,244,251,253,254,255,256,257;essentially Spanish,68;influence of,71Venice, early days in,92-95“Voice of a People,”165-167Water-color, his first,106Webster, Daniel, letter to,35-36West Point,35-36Westerly,32“White Girl,”53,283“White House.” See ChelseaWill,240Witticisms. See Anecdotes and sayingsWork always a pleasure,90-91;as a decorator,128-135;colors and pigments used,72-73;description of method,231-237;exhibition to visitors,133-135;facility in execution,23;his attitude towards a sitter,238-239,241;painting in the dark,213-214;volume of,104-105Yellow Buskin,” “The,119,256
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