. 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 . re strong. Inthe Japanese colour print they are softenedand blended together not so much by the skil-ful and harmonious juxtaposition, as by thesuavity of the medium, the introduction ofneutral tints, the mellow white foundation ofthe paper, and the arrangement of shapesencased in precise lines. The European painter had a different recognizing the supremacy of col-our, he took visual appearances as they wereand actually appeared in
. 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 . re strong. Inthe Japanese colour print they are softenedand blended together not so much by the skil-ful and harmonious juxtaposition, as by thesuavity of the medium, the introduction ofneutral tints, the mellow white foundation ofthe paper, and the arrangement of shapesencased in precise lines. The European painter had a different recognizing the supremacy of col-our, he took visual appearances as they wereand actually appeared in life as guiding mod-els for his representations. Colour becamesubmerged in other quahties almost equallyimportant, as those of line, perspective, chia-roscura, relief drawing and minute observ^a-tion. The Eastern artist apphed colom forcolours sake, and kept all other elements, no-tably those of line, feeling, shape and spacearrangement independent — not independentas far as the tonality of the final effect wasconcerned, but independent in their functionas vehicles of expression. They were neverdiffused in the same way as in an Old Owned by John G. Johnson LANGE LEIZEN OF THE SIX : PURPLE AND ROSE. The Butterfly 49 Each Hne, shape and colour had to tell its ownstory, while in Western art composition, col-our and idea often became inseparable by theapplication of the blurred outline. Whistler, at this stage of Iiis development,was interested simply in recreating Japanesecolour arrangements, to paint local values insuch a way that they would reflect the beauty,contrast and variety of an Outamaro pictures of this period remind one of thatcapricious Cliinese princess, of whom HeinrichHeine speaks, whose quaint and solitary pleas-ure consisted of tearing costly silks into tatters,to scatter the rags to the winds and to watchthem flutter like rose, blue and yellow butter-flies to the lilj^ ponds below. Already in his Woman in White Whis-tler had showTi s
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Keywords: ., bookcentury1900, bookdecade1910, booksubjectwhistle, bookyear1910
