Frank Duveneck . once the roughoutlines were suggested in charcoal, to coverhis canvas quickly with paint, boldly blockingin the large masses. In Florence, Duveneck found it hard to workhimself, owing to his being so well known, in 54 FRANK DUVENECK fact — pursued, as would appear to have beenthe case from Pennells remark in his book onWhistler, that he and Whistler used to runacross Duveneck in little out-of-the-way cafes,where he was hiding from them. This lastedfor two more years when Duveneck decidedto disband his class, thinking it would be betterfor his group of really fine students to g
Frank Duveneck . once the roughoutlines were suggested in charcoal, to coverhis canvas quickly with paint, boldly blockingin the large masses. In Florence, Duveneck found it hard to workhimself, owing to his being so well known, in 54 FRANK DUVENECK fact — pursued, as would appear to have beenthe case from Pennells remark in his book onWhistler, that he and Whistler used to runacross Duveneck in little out-of-the-way cafes,where he was hiding from them. This lastedfor two more years when Duveneck decidedto disband his class, thinking it would be betterfor his group of really fine students to go backto Munich or Paris on account of the oppor-tunity of seeing what was going on throughexhibitions and the like. PORTRAIT OF JOHN W. ALEXANDER1879 Duveneck took Alexander with him to Florence ahead of his otherpupils to help him find the right kind of studios. Once that task wascompleted and while waiting for the class, Duveneck painted thisbrilliant, gentlemanly portrait of young Alexander in a few PORTRAIT OF JOHN W. ALEXANDER1879 V In 1880 Duveneck became keenly interestedin etching, but a visit to America soon inter-rupted this work. Returning to Venice afterabout ayearhe produced, in 1883 and 1884, sometwenty notable plates. Without his knowledge,in 1881, Lady Collin Campbell had sent his threeetchings of the Rivadegli Schiavoni, Venice,to London, for the first exhibition of the NewSociety of Painter-Etchers at the HanoverGallery. The story of how several members ofthat society suspected that they were the worksof Whistler, under a nom de plume, is wellknown, the facts having been put on recordvarious times and Whistlers witty correspond-ence on the subject being included in TheGentle Art of Making Enemies. In this con-nection Seymour Haden later said that afterseeing the etchings there was absolutely nodoubt with him as to their originator; that he 58 FRANK DUVENECK could not help but feel at once the difference oftemperament between Whistler and
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