GIRL, WITH A RED FEATHER
OIL
In the possession of the Executors of J. Staats Forbes
To us the idea of his age was never present. He seemed the youngest wherever he was. But to those who saw him for the first time it was evident that he was growing old. And he had been before the public for so long that people got an exaggerated idea of his age. Mr. Symons continues:
"Some person officially connected with art was there, an urbane sentimentalist; and after every official platitude there was a sharp crackle from Whistler's corner, and it was as if a rattlesnake had leapt suddenly out."
When the "urbane sentimentalist" remarked that "there never was such a thing as an art-loving people, an artistic period," Whistler said: "Dear me! It's very flattering to find that I have made you see at last. But really, you know, I shall have to copyright my little things after this!"
When someone objected to the good manners of the French, because they were all on the surface, Whistler suggested, "Well, you know, a very good place to have them."
CHAPTER XLIII: THE INTERNATIONAL.
THE YEARS EIGHTEEN NINETY-SEVEN TO NINETEEN HUNDRED AND THREE.
That artists should hold Exhibitions of International Art was Whistler's idea. He had always hoped for a gallery where he could show his work in his own way with the work of men in sympathy with him. Often, and years before, he talked to us of this. It mattered little to him where the gallery should be, in New York or London, Paris or Berlin: the exhibition should not be local or national, but an Art Congress for the artists of the world. This was his aim. The men whom he wished to have associated with him lived mostly in London, where now the greater part of his time was spent, and London seemed the place for the first exhibition. He and Mr. E. A. Walton tried to lease the Grosvenor Gallery, and when they failed they turned to the Grafton. But again there were difficulties, and nothing definite was done until 1897, when a young journalist, who was painting, Mr. Francis Howard, conceived the idea of promoting a company to hold an exhibition at Prince's Skating Club, Knightsbridge. As the artists were to incur no financial responsibilities and to have complete artistic control, Whistler consented to co-operate. The first meeting, the minutes record, was on December 23, 1897, and John Lavery, E. A. Walton, G. Sauter, and Francis Howard were present. Whistler, who had been consulted, at first agreed that members of the Royal Academy and other artistic bodies should be admitted, and at the second meeting, February 7, 1898, Mr. Alfred Gilbert, R.A., took the chair. A circular, unsigned and undated, was then issued calling attention to a proposed exhibition of International Art, and on it appeared the names of James McNeill Whistler, Alfred Gilbert, Frederick Sandys, John Lavery, James Guthrie, Arthur Melville, Charles W. Furse, Charles Ricketts, C. Hazlewood Shannon, E. A. Walton, Joseph Farquharson, Maurice Greiffenhagen, Will Rothenstein, G. Sauter, Francis Howard. It stated, with a clumsiness Whistler could hardly have passed had he seen the circular beforehand, that the object of the Society was the much-needed "organisation in London of Exhibitions of the finest Art of the time ... the non-recognition of nationality in Art, and the hanging and placing of works irrespective of such consideration.... The Exhibitions, filling as they will an unoccupied place in the cosmopolitan ground of International Art, will not be in opposition to existing institutions."
An Executive Council appointed itself, and on February 16, 1898, Whistler was unanimously elected Chairman. The most distinguished artists of every nationality were invited to join an Honorary Council. The Executive, to which J., on Whistler's nomination, was elected in March, was to have entire charge of the affairs of the exhibition. There were to be no ordinary members, but only honorary members by invitation.
Jealousies and preferences immediately crept in. Mr. Gilbert resigned, which was much to be regretted, and several other English members withdrew from the Council, which speedily became as international as the name of the society, the International Society of Sculptors, Painters, and Gravers, into which it formed itself two months later (April 23), when officers were elected, and Whistler, proposed by Mr. Lavery and seconded by Mr. J. J. Shannon, was chosen President, Mr. Lavery Vice-President, and Mr. Francis Howard, Honorary Secretary.
The International was the second society of artists over which Whistler presided. Only ten years had passed since his resignation from the British Artists, but the change in his position before the world was great. The British Artists, an old and decrepit body, had chosen him as President in the hope that his "notoriety" and his following of young men would bring the advertisement they needed; the International, a young, vigorous organisation, elected him because they knew that no other artist could give them such distinction and distinguished foreign artists such assurance that their work would be hung in a country where previously, through fear of competition and insular prejudice, it had been rejected. In the eighties Whistler was mistrusted; in the nineties he was acknowledged as one of the great artists of the century. The change in his position was not greater than his influence on contemporary art. This influence had been pointed out by the few for some years past. But the last decade had strengthened it until it could no longer be denied. The younger generation had accepted him in the meanwhile, admitted their debt to him, and proclaimed it openly in their work. The New English Art Club abjured subject and sentiment for the "painter's poetry" wherever it might lurk, whether in the London bus transformed by the London atmosphere, or in the Lion-Comique, transfigured on the music-hall stage; though, as Whistler once said, the New English Art Club was "only a raft," while the International was to be a "battleship" of which he would take command. The Glasgow School accepted his teaching and then copied his technique, in some cases pushing imitation to folly. But still, all that was healthiest and best in the art of the country came from these two groups, and members of both had made an international reputation before the International was founded. Even in the Academy anecdote had lost for an interval its pre-eminence, and it looked as if Academicians might begin to understand that the painter's sole object need not be to tell a story. Besides, there were two artists, R. A. M. Stevenson and J., writing upon art, and they taught young men to have faith in Whistler, and the "new criticism was born," and D. S. MacColl was the name of the first and only child.
Nor was Whistler's influence confined to England. From the early eighties, when the jury was becoming more representative at the old Salon, the pictures he sent to it had been hung. From the early nineties the new Salon gave them prominence. Other recent influences in France had waxed and waned. The realism of Bastien-Lepage, which sank into photography with painters of less accomplishment, and the square brush-mark were already vieux jeu. Impressionism had swamped itself in chemical problems, and the technique of the Impressionists had been degraded to the exaggerations and absurdities of the Rose-Croix, to be swamped in turn by the latest fad of all. Whistler brought with him technical sanity, a feeling for beauty and reverence for tradition, and he, who had been called the most eccentric of poseurs in paint, led the way back to dignity and reticence in art, from which he had never swerved. His example was revealed in the work of artists of every nationality, either by frank imitation or else by their attitude towards Nature or the reserve of their technique. Because of this universal recognition, he was best qualified for the Presidency of an International Society of Artists.
The honour was paid him by no official body. Officially, to the last, he was destined to go without due recognition. In France he was an ordinary Sociétaire of the Société Nationale des Beaux-Arts. The National Academy of Design in America was as indifferent to him as the Royal Academy in England. His membership in the Academies of Dresden, Munich, Rome, and Scotland was a compliment—a compliment he could and did appreciate—but it carried no responsibilities and required no active work, and almost all these honours came after the International was started. But the new society, if not official, included on its executive the strongest outsiders in Great Britain, and had the support of the most distinguished men of his profession throughout the world. Their choice of him was an acknowledgment of his supremacy as artist and an expression of confidence in him as leader, and he took no less pleasure in their tribute than trouble not to disappoint their expectations. His experience with the British Artists was a help in constituting the Society. The sole authority rested with the Executive Council, the members of which elected themselves and could not be got rid of except by their voluntary resignation or expulsion. Theoretically the idea was magnificent, if the narrowest and most autocratic. "Napoleon and I do these things," Whistler said, and Suffolk Street had taught him that an intelligent autocrat is the best leader possible. His policy, if autocratic, was broad. In most societies painting held a monopoly, but, in his, sculpture and "graving" should have equal importance. All his rules were far-seeing and practical, and the decline of the Society since his death is due to the disregard of them: a disregard which his associates still on the Council who are true to his memory cannot prevent—or forget.
The first exhibition was opened in May 1898. The Skating Rink at Knightsbridge was divided into three large and two small galleries. Whistler's scheme of decoration was adopted, and the hanging was more perfect than any up to that time even on the Continent. The President's velarium, without question of patent, was used, and he designed the seal for the Society and the cover of the catalogue. The artistic success of the show could not be questioned. No such collection of modern art had been seen in London, a proof that Whistler was as broad as the painters and the populace were sure he was narrow. The "Why drag in Velasquez?" story is often quoted by the ignorant and the foolish and the stupid. In this Exhibition he dragged in everyone of eminence, for, though the ignorant and the foolish and the stupid may never understand, the "Why drag in Velasquez?" was uttered only for their benefit. Whistler showed a group of early pictures: At the Piano, La Princesse du Pays de la Porcelaine, Rosa Corder, with later works: The Philosopher, The Little Blue Bonnet, his own half-length portrait in a white jacket, Brown and Gold. The sculpture was as interesting as the painting. There were drawings and engravings. Besides, his idea was to have special exhibitions, and Aubrey Beardsley, who had just died, was honoured. Before the show was over delegates were sent, and communications received, from Paris and Venice asking for an exchange of exhibitions.
Whistler came from Paris for the opening, a quiet affair as the endeavour to obtain the presence of the Prince of Wales failed, and he lunched with the Council on the opening day and attended one or two Sunday afternoon receptions. He agreed that a fine illustrated catalogue should be published by Mr. Heinemann, with The Little Blue Bonnet, in photogravure, as frontispiece. If the first exhibition was a complete artistic success it proved a complete financial failure. But luckily the Society had no pecuniary responsibility.
Whistler knew it is impossible for a man to serve actively in two rival societies; he had said so to the British Artists; and he determined that members of the Council of the International who were members of other societies must leave the Society, or, if not, he would. His decision was precipitated by a new election to the Council. He was in Paris, and the fact that two members of the Council, Lavery and J., left London at an hour's notice for the Rue du Bac to arrange matters with him shows how anxious he was for the welfare of his Society. They arrived early in the morning. Whistler was not up, but sent word that they must breakfast with him in the studio. During breakfast he talked of everything but the Society; after breakfast he made them listen to a Fourth of July spread-eagle oration squeaked out of a primitive gramophone that somebody had given him and that he loved; and it was not until twenty minutes before they had to start back that he referred to the Council. Then he had all his plans ready, and he stated what he proposed to do, and what he wanted done, what must be done—we might add, what was done. And not only at every crisis, but in every detail, he directed the management of the Society, and he demanded that every report, every project should be submitted to him. He expected the deference due to him as President, and in return he gave his unswerving support. Even during his last illness nothing was done without his knowledge and approval.
The second International Exhibition, or "Art Congress," was held at Knightsbridge from May to July 1899. The President came over when the hanging was finished. It was arranged this year that a special show of his etchings should be made, and a small room was decorated and called the White Room. As Whistler was in Paris, he asked J. and Mrs. Whibley to go to the studio and select the prints. J. chose a number that had not been seen before, principally from the Naval Review Series. Whistler, for some reason, resented the selection when he saw the prints on the walls. The Committee were in consternation and sent for J. Whistler said to him:
"Now look what you have done!"
"But what have I done? Have I done you any harm?"
And that was the end of it. His objection may have been because he feared, as we remember his saying of these prints another time, that they were "beyond the understanding of the abomination outside." But his fury lasted only for the moment, and he and Lavery and J. passed a good part of the night at work in the gallery on the catalogue.
Whistler received on the opening day, and in the evening the first of the Round Table Council dinners was held at the Café Royal, Sir James Guthrie presiding. In an admirable speech he expressed not only the delight of the Council at being able to enlist the sympathy and aid of Whistler, but their love and appreciation for the man and his work. The sympathy then existing between the President and most of the Council was genuine, and he appreciated it as much as they did. After dinner a few of the Council went with him to Sir John Lavery's, where he was staying, and there he read The Baronet and the Butterfly, which had just appeared in Paris. This, because of absence or ill-health, was the only Council dinner he went to, though for a time there was one every year, and at several Rodin presided.
To the second exhibition the President sent several small canvases recently finished. Again the infallible critics discussed them as promising works of the past, and were made to eat their words, and again in the catalogue Whistler quoted the Times, and to its opinion of to-day of "... the vanished hand which drew the Symphony in White and Miss Alexander" compared its opinion "of the moment" of those two pictures, when the Miss Alexander suggested a sketch left "before the colours were dry in a room where the chimney-sweeps were at work," and was "uncompromisingly vulgar." "Other Times, other lines!" was Whistler's comment. Three illustrated catalogues were published by Messrs. W. H. Ward and Company. Whistler's Chelsea Rags and Trouville were both included in the ordinary editions, and the Little Lady Sophie of Soho and Lillie in our Alley were added to the édition de luxe. The catalogues until 1910, when even Whistler's format was discarded, are the most interesting issued by any society. The second exhibition was less of a success financially than the first, and the Society of Artists came near being involved in the crash which overtook the financing company. To avoid complications Whistler insisted that the Society should have an Honorary Solicitor and Treasurer, and Mr. William Webb was appointed.
In the first and second exhibitions the art of the world was represented as it never had been before in England,[12] as it never has been since. In both, attempts to attract the public with music and receptions and entertainments were made, but Whistler objected to music, saying that the two arts should be kept separate, that people who came to hear the music could not see the pictures, and people who came to see the pictures would not want to hear the music. There were misunderstandings with the proprietor and the promoters, the former wishing to see some of his friends represented, and the latter to see some of their money back, and the outlook was gloomy. Whistler wrote a memorable letter in which he said that he, as commander, proposed to repel pirates and sink their craft, and they never openly got aboard, though a few stowaways did creep in.
No show was held in 1900, the Paris Universal Exhibition taking up the members' energy, and not until the autumn of 1901 was the third exhibition opened at the Galleries of the Royal Institute in Piccadilly. There had been official and other changes. Professor Sauter had been made Honorary Secretary, pro tem., and the Society, which up till now had consisted of the Council only, admitted Associates, and with their election the international character began to wane, for, out of thirty-two Associates elected, twenty-eight were resident in Great Britain. This exhibition was the first to be financially successful. The President sent seven small paintings and pastels. Phryne the Superb was reproduced in the catalogue, as well as Gold and Orange—The Neighbours, and Green and Silver—The Great Sea.
Professor Sauter devoted himself to furthering the International idea of the President, and under his Secretaryship the Society held exhibitions of its English members' work in Budapest, Munich, and afterwards in Philadelphia, Pittsburgh, Chicago, and St. Louis. On June 11, 1903, Professor Sauter was relieved temporarily of the Secretaryship and J. took his place. Within a few weeks it was his sad duty to call a meeting to announce to the Society the loss they had sustained by the death of their President.
The Council determined to follow the traditions of Whistler and to honour his memory. Not only were the American exhibitions held, but the Society organised a show of British art in Dusseldorf, and made arrangements for a Memorial Exhibition of the President's works in London. In the autumn of 1903 M. Rodin accepted the Presidency, and the fourth exhibition, the first held in the New Gallery, was opened in January 1904, in which the late President was represented by the Symphony in White, No. III., lent by Mr. Edmund Davis; Rose and Gold—The Tulip, lent by Miss Birnie Philip; Valparaiso, lent by Mr. Graham Robertson; Symphony in Grey—Battersea, lent by Mrs. Armitage; and Study for a Fan, lent by Mr. C. H. Shannon.
