Whistler: Masterpieces in Colour Series

Nonfiction, Religion & Spirituality, New Age, History, Fiction & Literature
Cover of the book Whistler: Masterpieces in Colour Series by T. Martin Wood, Library of Alexandria
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Author: T. Martin Wood ISBN: 9781465500496
Publisher: Library of Alexandria Publication: March 8, 2015
Imprint: Language: English
Author: T. Martin Wood
ISBN: 9781465500496
Publisher: Library of Alexandria
Publication: March 8, 2015
Imprint:
Language: English
At the time when Rossetti and his circle were foregathering chiefly at Rossetti’s house, quiet Chelsea scarcely knew how daily were associations added which will always cluster round her name. Whistler’s share in those associations is very large, and he has left in his paintings the memory of many a night, as he returned beside the river. Before Whistler painted it, night was more opaque than it is now. It had been viewed only through the window of tradition. It was left for a man of the world coming out of an artificial London room to paint its stillness, and also to show us that we ourselves had made night more beautiful, with ghostly silver and gold; and to tell us that the dark bridges that sweep into it do not interrupt—that we cannot interrupt, the music of nature. The figure of Whistler emerges: with his extreme concern as to his appearance, his careful choice of clothes, his hair so carefully arranged. He had quite made up his mind as to the part he intended to play and the light in which he wished to be regarded. He had a dual personality. Himself as he really was and the personality which he put forward as himself. In a sense he never went anywhere unaccompanied; he was followed and watched by another self that would perhaps have been happier at home.
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At the time when Rossetti and his circle were foregathering chiefly at Rossetti’s house, quiet Chelsea scarcely knew how daily were associations added which will always cluster round her name. Whistler’s share in those associations is very large, and he has left in his paintings the memory of many a night, as he returned beside the river. Before Whistler painted it, night was more opaque than it is now. It had been viewed only through the window of tradition. It was left for a man of the world coming out of an artificial London room to paint its stillness, and also to show us that we ourselves had made night more beautiful, with ghostly silver and gold; and to tell us that the dark bridges that sweep into it do not interrupt—that we cannot interrupt, the music of nature. The figure of Whistler emerges: with his extreme concern as to his appearance, his careful choice of clothes, his hair so carefully arranged. He had quite made up his mind as to the part he intended to play and the light in which he wished to be regarded. He had a dual personality. Himself as he really was and the personality which he put forward as himself. In a sense he never went anywhere unaccompanied; he was followed and watched by another self that would perhaps have been happier at home.

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