Life of James McNeill Whistler, . latter said, But there is no secret ! Whistlers answer was, Yes, the secret is in doing it. It is justthis, in doing it, that the excellence of his work lies. As a matterof fact the difficulty is restraint in drawing the heart of a subject,while in painting still more restraint is necessary, the restraint imposedby colour. Besides etchings and pastels Whistler made water-colours in Venice,but as they were never shown together it is impossible to say how were also a few oils. The most important is Nocturne, Blueand Gold, St. Marks. Bacher speaks of o
Life of James McNeill Whistler, . latter said, But there is no secret ! Whistlers answer was, Yes, the secret is in doing it. It is justthis, in doing it, that the excellence of his work lies. As a matterof fact the difficulty is restraint in drawing the heart of a subject,while in painting still more restraint is necessary, the restraint imposedby colour. Besides etchings and pastels Whistler made water-colours in Venice,but as they were never shown together it is impossible to say how were also a few oils. The most important is Nocturne, Blueand Gold, St. Marks. Bacher speaks of one from the windows of theCasa Jankovitz, the Salute and a great deal of sky and water, withthe buildings very small, and of a scene at night from a cafe near theRoyal Gardens. Then there is the upright sunset from the Rivareferred to by Mr. Pennington, and two others painted from Turners terrace, one looking down the Riva to San Biagio, theother up to San Marco, both full of little figures, and with boats and200 [1879-80. PORTRAIT OF STR HENRY IRVING ASPHILIP II OF SPAIN ARRANGEMENT IN BLACK. XO. Ill OIL In the Metropolitan Museum, New York{Seepage 143) Back in London a suggestion of the Lagoon, in the background ; studies left hangingin sunlight after he had done one days work until he came to do thenext. Mr. Forbes recalls a Nocturne oj the Giudecca, with shipping,on a panel, which Whistler gave to Jobbins, who, as he told us, thoughtso little of it that he painted a sketch on the back and then sold it toForbes, who still has it. Mr. Canfield is said to have another ofS. Giorgio. Doubtless there are more, but we know of none thatwere exhibited. CHAPTER XXIII: BACK IN LONDON. THE YEARSEIGHTEEN EIGHTY AND EIGHTEEN EIGHTY-ONE. At the end of November 1880 Whistler was back in London. Yearsof battle, M. Duret calls the period that followed, and Whistler wasready to fight. He arrived when the Fine Art Society had a show of TwelveGreat Etchers, a press was in the gallery, G
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