ir
interest, on the drawing of festoons of cord hanging from unequal
heights."
_P. G. Hamerton._
37.--TRAGHETTO.
"The artist's present principles seem to deny him any effective
chiaroscuro."--_P. G. Hamerton._
[Sidenote: _REFLECTION:_
"Sometimes generally always."
[Illustration]]
"Mr. Whistler's figure drawings, generally defective and always
incomplete."
38.--FISHING BOAT.
"Subjects unimportant in themselves."
_P. G. Hamerton._
39.--PONTE PIOVAN.
"Want of variety in the handling."
_St. James's Gazette._
40.--GARDEN.
"An art which is happier in the gloom of a doorway than in the glow of
the sunshine, and turns with a pleasant blindness from whatsoever in
Nature or Man is of perfect beauty or noble thought."--_'Arry._
41.--THE RIALTO.
"Mr. Whistler has etched too much for his reputation."--_F. Wedmore._
[Sidenote: _REFLECTION:_
This critic, true, is a Slade Professor.
[Illustration]]
"Scampering caprice."--_S. Colvin._
"Mr. Whistler's drawing, which is sometimes that of a very slovenly
master."
42.--LONG VENICE.
"After all, there are certain accepted canons about what constitutes
good drawing, good colour, and good painting; and when an artist
deliberately sets himself to ignore or violate all of these, it is
desirable that his work should not be classed with that of ordinary
artists."--_'Arry._
43.--NOCTURNE SALUTE.
"The utter absence, as far as my eye[29] may be trusted, of
gradation."--_F. Wedmore._
[Note 29:?
[Illustration]]
"There are many things in a painter's art which even a photographer
cannot understand."
_Laudatory notice in Provincial Press._
44.--FURNACE NOCTURNE.
"There is no moral element in his chiaroscuro."
_Richmond Eagle._
45.--PIAZETTA.
"Whistler does not take much pains with his work."
_New York Paper._
"A sort of transatlantic impudence in his cleverness."
"His pictures do not claim to be accurate."
46.--THE LITTLE MAST.
"Form and line are of little account to him."
47.--QUIET CANAL.
"Herr Whistler stellt ganz wunderbare Productionen
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