Modern Painting

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MODERN PAINTING CONTENTS. WHISTLER CHAVANNES, MILLET, AND MANET THE FAILURE OF THE NINETEENTH CENTURY ARTISTIC EDUCATION IN FRANCE AND ENGLAND INGRES AND COROT MONET, SISLEY, PISSARO, AND THE DECADENCE OUR ACADEMICIANS THE ORGANISATION OF ART ART AND SCIENCE ROYALTY IN ART ART PATRONS PICTURE DEALERS MR. BURNE-JONES AND THE ACADEMY THE ALDERMAN IN ART RELIGIOSITY IN ART THE CAMERA IN ART THE NEW ENGLISH ART CLUB A GREAT ARTIST NATIONALITY IN ART SEX IN ART MR. STEER'S EXHIBITION CLAUDE MONET NOTES-- MR. MARK FISHER A PORTRAIT BY MR. SARGENT AN ORCHID BY MR. JAMES THE WHISTLER ALBUM INGRES SOME JAPANESE PRINTS NEW ART CRITICISM LONG AGO IN ITALY WHISTLER. I have studied Mr. Whistler and thought about him this many a year. His character was for a long time incomprehensible to me; it contained elements apparently so antagonistic, so mutually destructive, that I had to confess my inability to bring him within any imaginable psychological laws, and classed him as one of the enigmas of life. But Nature is never illogical; she only seems so, because our sight is not sufficient to see into her intentions; and with study my psychological difficulties dwindled, and now the man stands before me exquisitely understood, a perfect piece of logic. All that seemed discordant and discrepant in his nature has now become harmonious and inevitable; the strangest and most erratic actions of his life now seem natural and consequential (I use the word in its grammatical sense) contradictions are reconciled, and looking at the man I see the pictures, and looking at the pictures I see the man. But at the outset the difficulties were enormous. It was like a newly-discovered Greek text, without punctuation or capital letters. Here was a man capable of painting portraits, perhaps not quite so full of grip as the best work done by Velasquez and Hals, only just falling short of these masters at the point where they were strongest,


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