Whistler as I knew him . SPEKE SHORE. THE PAINTER 75 on his own panels. Suddenly lie drew himself am I working on ivory? he am I not working on paper? This groundis slippery and unsympathetic. And, after all, itwas useless, because the ivory was completely lost. Pastel the Master revelled in, and this mediumhe treated very much as he treated oil colours andwater colours. He began with a fine drawing inblack chalk, a complete picture in itself; then hewould heighten the drawing with a few simple tones,leaving as much of the brown paper as never worked upon a grou
Whistler as I knew him . SPEKE SHORE. THE PAINTER 75 on his own panels. Suddenly lie drew himself am I working on ivory? he am I not working on paper? This groundis slippery and unsympathetic. And, after all, itwas useless, because the ivory was completely lost. Pastel the Master revelled in, and this mediumhe treated very much as he treated oil colours andwater colours. He began with a fine drawing inblack chalk, a complete picture in itself; then hewould heighten the drawing with a few simple tones,leaving as much of the brown paper as never worked upon a ground that required was a waste of time, he said, and a handicap:one could not procure clean crisp tones — it wasnecessary to go over them so many times. For some of his pictures he had innumerablesittings. One instance was the painting called theBlue Girl. The father of a family of three orfour girls told me that each maiden in her turn,as she reached the desired age, had sat to Whistlerfor the same picture — until at
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Keywords: ., bookauthormenpesmo, bookcentury1900, bookdecade1900, bookyear1904
