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Whistler as I knew him . ng ofthe room was arranged in accordance with thepictures; so also were the hangings, which werefestooned in beautiful lines around the gallery. ThePrivate View card was the object of much care andconsideration. Such details as the cut of the letter-ing and the placing of the type were all-important.Whistler would actually go to the length of traininga member of the printing firm especially to put atouch of colour on the butterfly by hand. At oneof the exhibitions there was a picture called TheBlue Girl, which occupied a central position onone of the walls. At the last

Whistler as I knew him . ng ofthe room was arranged in accordance with thepictures; so also were the hangings, which werefestooned in beautiful lines around the gallery. ThePrivate View card was the object of much care andconsideration. Such details as the cut of the letter-ing and the placing of the type were all-important.Whistler would actually go to the length of traininga member of the printing firm especially to put atouch of colour on the butterfly by hand. At oneof the exhibitions there was a picture called TheBlue Girl, which occupied a central position onone of the walls. At the last Stock Photo
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Contributor:

The Reading Room / Alamy Stock Photo

Image ID:

2AJJMDK

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7.1 MB (450.7 KB Compressed download)

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1198 x 2086 px | 20.3 x 35.3 cm | 8 x 13.9 inches | 150dpi

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Whistler as I knew him . ng ofthe room was arranged in accordance with thepictures; so also were the hangings, which werefestooned in beautiful lines around the gallery. ThePrivate View card was the object of much care andconsideration. Such details as the cut of the letter-ing and the placing of the type were all-important.Whistler would actually go to the length of traininga member of the printing firm especially to put atouch of colour on the butterfly by hand. At oneof the exhibitions there was a picture called TheBlue Girl, which occupied a central position onone of the walls. At the last moment, early on themorning of the Press Day, Whistler came to theconclusion that he was not pleased with the paintingof the mouth. Immediately he mounted upon aladder and began to retouch it. It was terribleto watch him. He kept on painting the mouth, rubbing it out and repainting it; still it mockedand defied him. It seemed like a living thing. It THE ANGRY SEA From an oil-painting in the possession ofJ. J. Cowan, Esq.. THE ONE-MAN SHOW 117 changed continually. Sometimes it would simper, and sometimes the lips would curl in a sneer. Aftera time the picture lost its freshness. Whistler wouldnow and then deceive himself into thinking he wassatisfied. He would climb down from his ladder, and say to me: Isnt that fine now? Much betterthan it was. I am not going to touch it again.No sooner had I turned my back than up he wouldclimb and set to work to rub out the mouth andpaint it in as though for dear life. By and by hebecame nervous and sensitive. The whole exhibitionseemed to centre on that one mouth. It developedinto a nightmare. At length, in despair, he dashedit out with turpentine, and fled from the galleryjust as the first critic was entering. There was an exhibition called Flesh Colour andGrey. Whistler decided that the decorations forthis exhibition should be of flesh colour and greyalone. He insisted upon the colour scheme overflow-ing a little into Bond Street and oozing

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