. The art treasures of Washington : an account of the Corcoran Gallery of Art and of the National Gallery and Museum, with descriptions and criticisms of their contents; including, also, an account of the works of art in the Capitol, and in the Library of Congress, and of the most important statuary in the city. s discussing thepropriety of acquiring this superb trophy for thenation, the American collector quietly paid the pricedemanded and became it- proud possessor. Thisroom will I instructed in its entirety and will be one of the most prominent features of the gal-lery. Whistler was commiss
. The art treasures of Washington : an account of the Corcoran Gallery of Art and of the National Gallery and Museum, with descriptions and criticisms of their contents; including, also, an account of the works of art in the Capitol, and in the Library of Congress, and of the most important statuary in the city. s discussing thepropriety of acquiring this superb trophy for thenation, the American collector quietly paid the pricedemanded and became it- proud possessor. Thisroom will I instructed in its entirety and will be one of the most prominent features of the gal-lery. Whistler was commissioned to paint Leylandswife, In- four children, and himself. The oil paint-ing of the shipowner was the only one completed. Whistler painted him. standing, in evening dress,and this canvas is included in the Freer Collection. The portrait is not 90 familiar as others of the full-lengths, and it WQS not shown until the London Memorial Exhibition of Whistlers works broughtit to light. It is one of his many arrangements inblack; and it marks the painters breaking awayfrom the purely decorative treatment, as instancedin the portrait of the artists mother, the (\ Mi-- VI r. to broader atmospheric effects which absorbed him in later portraits. Idle can-vas \v;h coinph-ted umWv difficulties, which are. !•IM RAH I I imes \. McNeill Whistler XT be Jfreer Collection 846 thus described in the Pennells1 Life of Whis-tler: Leyland told Val Princep that Whistler nearlycried over the drawing of the legs, Mr. Greathai he painted them out again and again, and finally had m a model to | )T it nude. It was finished in the winter of [873. He also pamted a study for it, shown m the London Me-morial Exhibition. In the portrait of Leyland hean to suppress the background, to put the figuresinto the atmosphere in which they stood, withoutany accessories. The problem was now the atmos-pheric envelope, to make the figures stand in thisatmosphere, as far within their frames as he stoodfrom the
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Keywords: ., bookcentury1900, booksubjectart, booksubjectartmuseums, bookyear1
