File:American painting and its tradition - as represented by Inness, Wyant, Martin, Homer, La Farge, Whistler, Chase, Alexander, Sargent (1920) (14589735328).jpg

Identifier: ameng00vand (find matches)
Title: American painting and its tradition : as represented by Inness, Wyant, Martin, Homer, La Farge, Whistler, Chase, Alexander, Sargent
Year: 1920 (1920s)
Authors: Van Dyke, John Charles
Subjects: American Painting
Publisher: Charles Schribner's Sons
Contributing Library: Whitney Museum of American Art, Frances Mulhall Achilles Library
Digitizing Sponsor: Metropolitan New York Library Council - METRO

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rin-cesse, and the masquerade of Japanese robe andrug and screen and fan was only a pretense.The subtitle of Rose and Silver again didnot enlighten. What was wanted was the com-mon sense of it and not the harmony or the ar-rangement. But it had no common sense; itwas merely a fantasy in color. Persistently theylooked for the wrong thing and would not seewhat the painter wished them to see. It was justso with The Little White Girl—a beautifulsymphony in white showing a young girl inmuslin leaning against a white mantel with herface reflected in a mirror. It was Japanese onlyin the fan, the flowers, and the vase, but thearrangement was too flat for public appreciation,and the girl was declared the most bizarre ofbipeds. All through the sixties this misapprehension ofpurpose and aim persisted, and toward 1870another riddle was presented with the appear-ance of the nocturnes. They were things donealong the Thames at dusk and were revelationsof that blue-air envelope which forms when the
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The Princesse du Pavs de la Porcelaiiie, 1)V James A.McNeill Whistler. In the Freer Colleclioii, Siuithsouiaii Institution. JAMES ABBOTT McNEILL WIHSTLER 1C3 shadow of the world begins to creep up theEastern sky. The idea had perhaps been sug-gested to Wiistler in the color prints of Iliro-shige and he had afterward found its reality inEnglish twilights. Such a motive was quite theopposite of Turners blazing sunset upon whichthe generations had been reared. Everything wasmufHed, vague in outline, half seen as to place.Much was left to the imagination, and as forthe composition, it was arranged with the great-est simplicity. Indeed, it was so simple that peo-ple thought it must be foolish and said so with-out hesitation. Again the subtitles of Blue and Gold andBlack and Gold carried no meaning. Even theexperienced Ruskin could see nothing in thelater Falling Rocket but a coxcomb flinginga pot of paint in the publics face. It was cock-ney impudence and wilful imposture. Thatwas more tha

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