. 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 . not always appear right toothers, but it was right to him. How carefullyhe thought out these technical problems isshown in his Propositions, which he ad-dressed to an American etching club that hadinvited him to take part in a competition oflarge plates. He wrote the following seriesof maxims that should be posted on the wallof every studio: That art is criminal to go beyond themeans used in its exercise. That the space to be covered should al-w
. 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 . not always appear right toothers, but it was right to him. How carefullyhe thought out these technical problems isshown in his Propositions, which he ad-dressed to an American etching club that hadinvited him to take part in a competition oflarge plates. He wrote the following seriesof maxims that should be posted on the wallof every studio: That art is criminal to go beyond themeans used in its exercise. That the space to be covered should al-ways be in proper relation to the means usedfor covering it. That in etching, the means used, or instru-ments employed, being the finest possiblepoint, the space to be covered should be smallin proportion. That all attempts to overstep the limitsinsisted upon such proportions are inartisticthoroughly, and tend to reveal the paucity ofthe means used, instead of concealing the same,as required by art in its refinement. That the huge plate, therefore, is an of-fence— its undertaking an unbecoming dis-play of determination and ignorance — in ac-. WAPPING, ON THE THAMES (eTCHING). In Quest of Line Expression 161 complishmeiit a triumph of unthinking ear-nestness and uncontrolled energy — both en-dowments of the duffer. That the custom of Remarque emanatesfrom the amateur and reflects his foolish facil-ity beyond the border of his picture, thus testi-fying to his unscientific sense of its dignity. That it is odious. That, indeed, there should be no marginon the proof to receive such Remarque. That the habit of the margin, again, datesfrom the outsider, and continues with the col-lector in his unreasoning connoisseurship —taking curious pleasure in the quantity of thepaper. That the picture ending where the framebegins, and in the case of etchings, the whitemount, being inevitabl}^, because of its colour,the frame, the picture thus extends itself irrel-evantly through the margi
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Keywords: ., bookcentury1900, bookdecade1910, booksubjectwhistle, bookyear1910
