. 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 . tthe figures of the Parthenon frieze. We willnever cease to love the Primitifs. We willcontinue to make pilgrimages to the Prado andthe Sistine Chapel. And Rembrandt will asheretofore receive the adoration of mankind. Yet the new art will be different. It has tobe different to equal the old. It will be at-tuned to the moods of the modern mind. Itwill have new accents. It will bear the ana-lytical and complex aspects of our time. Itwill be subtle
. 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 . tthe figures of the Parthenon frieze. We willnever cease to love the Primitifs. We willcontinue to make pilgrimages to the Prado andthe Sistine Chapel. And Rembrandt will asheretofore receive the adoration of mankind. Yet the new art will be different. It has tobe different to equal the old. It will be at-tuned to the moods of the modern mind. Itwill have new accents. It will bear the ana-lytical and complex aspects of our time. Itwill be subtler, more fragile, perhaps, but itwill drive deeper into our soul than the coldcorrectness of older forms and emblems. It was Whistler who pointed out that a largepicture is a contradiction, that a picture likeRaphaels Transfiguration or Veroneses Marriage of Cana are merely combinationsof smaller pictures, drearily linked together bystretches of negligible paint. The demands ofexplanation, of form and composition, drag in,every now and then, lines and colour noteswhich are merely padding. They are thepainters concessions to the old rules of com-. THE FIDDLER (eTCHING). The Story of the Beautiful 247 plexity. The modern mind demands a con-centrated vision. Painting must appeal againdirectly to our finer sensibilities, speak to uswithout interference of moral or literary con-siderations. It was Whistler who taught that paintingwas a science of colour manipulation. Thatthe first requisite of a painter is to know howto paint. Everybody can learn how to drawand how to handle a brush. To explore thesecrets of colour, to discern their influencesupon each other, to render them atmosphericand musical, that alone is of vital painting should be a visual language thatspeaks directly and distinctly to the culturedmind. How many of the younger Americanpainters (alas, our younger men have allpassed the threshold of thirty if not of forty)really know their metier? Henri, Reid, Lu
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