. The Whistler book; a monograph of the life and positin in art of James McNeill Whistler, together with a careful study of his more important works . undthe picture. The remainder of the argument isexcellent, theoretically as well as aesthetically. Whistlers composition, excepting theFrench set, was strictly impressionistic. Onemerely has to look at the Cadogan Pier,The Little Pool, Old HungerfordBridge, Little Wapping, The VelvetDress, The Dam Wood, The Long La-goon, etc., to come to this conclusion. The word impressionism is rather difficultto explain. It is on the tongue of everybody,and y
. The Whistler book; a monograph of the life and positin in art of James McNeill Whistler, together with a careful study of his more important works . undthe picture. The remainder of the argument isexcellent, theoretically as well as aesthetically. Whistlers composition, excepting theFrench set, was strictly impressionistic. Onemerely has to look at the Cadogan Pier,The Little Pool, Old HungerfordBridge, Little Wapping, The VelvetDress, The Dam Wood, The Long La-goon, etc., to come to this conclusion. The word impressionism is rather difficultto explain. It is on the tongue of everybody,and yet few mean exactly the same thing whenthey make use of it. The term applied for-merly to every art expression — as every artistendeavoured to render an impression — hasbeen specialized in the latter half of the lastcentury. It has become the nickname of adefinite number of painters, who have adopteda new palette (as suggested by scientific re-searches) and introduced a new method of lay-ing colours on the canvas. In recent years theterm has undergone another change — it hasbecome a general claim for individuality ofsubject and In Quest of Line Expression 163 First of all, let us determine what differencethere really is between the old and the newstyle of impressionism. The artist of the oldschool received an impression and elaboratedupon it. He embellished it with all his artwas capable of, and the original impressionunderwent all sorts of changes. It was merelythe first inspiration — the foundation stoneupon which the whole art structure was artist of the new school, on the other hand,endeavours to reproduce the impression he hasreceived, unchanged. He wants the impres-sion itself, and wants to see it on his canvas ashe has seen and felt it, hoping that his inter-pretation may call forth similar aesthetic pleas-ures in others as the original impression did inhim. It is a singular coincidence, indeed, thatwhile the men of the lens busy themselve
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Keywords: ., bookcentury1900, bookdecade1910, booksubjectwhistle, bookyear1910
