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Professional Volume Eyelash Extension Tweezers
▪Highly Precise ▪Fine Tip
▪Hand Tested ▪Wholesale Prices
Khối lượng chuyên nghiệp Lông mi mở rộng nhíp
▪Chính xác cao ▪Mẹo nhỏ
▪Đã kiểm tra ▪Giá Bán from Buôn
Pinzette per estensione di ciglia volume professionale
▪Altamente preciso ▪Punta fine
▪Testato a mano ▪Prezzi all'ingrosso
Profissional Pinça de extensão de pestanas de volume
▪Alta precisão ▪ponta fina
▪Teste manual ▪Preços por atacado
Профессиональный объемный пинцет для наращивания ресниц
▪ Высоко Точный ▪Точный совет
▪Ручное тестирование ▪Оптовые цены
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Dive bombing requires precise maneuverability and accuracy to fly at steep trajectory and hit a moving target. The Douglas SBD Dauntless was sturdy enough for pilots to dive at a near-vertical 80 degrees. The US Navy’s primary dive-bomber at the war’s start, the bomber earned its reputation — and helped earn victory — at the 1942 Battle of Midway, sinking four Japanese carriers. By some accounts, the Dauntless sank more Japanese ships than any other plane.
SBD-3, Bureau Number (BuNo) 06508 was built by Douglas Aircraft Company at El Segundo, California and is a combat veteran of the Guadalcanal Campaign operating from Henderson Field by Marine Scout Bombing Squadrons (VMSB) 141 and 132. In the spring of 1943, BuNo 06508 was assigned to Navy Bombing Squadron 10 aboard the aircraft carrier Enterprise for a short time before being returned to the States to serve as a trainer at Naval Air Station Glenview, Illinois. In November 1944, this aircraft was lost on a training flight in Lake Michigan where it remained until 1990 when it was recovered by the US Navy and restored to its present condition.
Precise brick work!
Elongated Slit windows, 2900BCE.
Shot from the ground (exterior)
the 1st three courses (footing/foundation) would have been covered with earth. (and possibly bitumen)
EPSON scan of original photo.
The Zeltron Precisor was designed for the Political Intergalactic Special Service (PISS). PISS operatives were enrolled to protect government officials on home soil only. By the time I finished the first prototype the government was thrown out for extravagant spending on holidays, where they unnecessarily took operatives with them. The government was found guilty of continually taking the PISS, so now this is the only Zeltron Precisor in existence. The power module has been removed and it is for sale as an ornament only.
Precise Monoblock Axes
Healthy Machine Head System
Wrench Needle Change Type
Sterilization can be done with High-temperature and High-pressure repeatedly
One Year Manufacturer Warranty
From the museum label: Sargent remained close friends with artist Paul Helleu (1859-1957) since their student days in Paris. In summer 1889, Helleu and his wife, Alice Guérin (1870-1933), visited Sargent in the English countryside at Fladbury, Worcestershire, where this outdoor portrait was painted. The portrait reveals the ongoing importance of Sargent's Parisian friendships to his work. It pays tribute to his dear friend's art, recording the precise moment he places his brush on canvas. Sargent adapted the plein-air lessons he had learned while painting alongside Claude Monet at Giverny. While the portraits are carefully observed, he adopted a distinctive spiky brushstroke to render the tall grass in a lively pattern. The high vantage point and strong diagonal of the canoe create a dynamic and modern composition.
Precise Monkey Goods are products that produce by Precise Monkey's designer. See more details about them at www.precisemonkey.com or check their update details at facebook page www.facebook.com/precisemonkey
Wheels: COR Precise
Finish: Gloss Black
Front Wheels: 20x8.5
Rear Wheels: 21x13
Front Tires: 235/30R20
Rear Tires: 375/20R21
More Details: www.corwheels.com/precise/
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Precise location not clear but possibly the Blackwater stretch.
Original undated 5½"x4" photograph from disbound album.
The decorative patterns are perfectly arranged, the colours are rich and consistent, the shadows are exactly parallel, and, in contrast to the experience of most renovators, the walls appear square (although magnification does show a few flaws). However, the panel on the bottom left is, in comparison to the rest, relatively hideous! I'm guessing that it was repaired a few years ago by a work crew without a suitably obsessive member. I, on the other hand, have to say that it took all of my resolve to avoid the temptation to fix it digitally.
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Photographed in the courtyard of the City Palace, Jaipur, India.
Cicco & Lillo are two handmade toys that will travel to Africa. Yes, they'll go to Africa (Botswana to be precise) and enjoy their time with orphan children. I donated them to Jeannie ][1] who will bring them to her physician who will then give to children in Botswana. The deadline for giving her toys was March 13th, but I am sure she'll keep collecting toys for future deliveries. For more information about this project, go to Jeannie's blog at
travellingswatch.blogspot.com/2008/10/botswana-next-round...
Cicco was the first toy I made, and it's all knitted. I have some pink knitted leftover from a wool sweater that I shortened, and I was able to recycle it for Chicco and Lillo's limbs. I love when I can recycle stuff. I then thought of sewing another toy so that I could practice my skills. Lillo's hair is also made with yarn from that same sweater. I am glad I kept the frogged yarn that works great for hair. Oh, and lastly, I stuffed them with bamboo fiber along with all those bit and pieces of yarn I keep when seaming or cutting fibers.
Sartiglia dei contadini 2008.
An year of hard training, spent in a fraction of a second.
Luck and skill work together to give a man his moment of glory.
Professional Volume Eyelash Extension Tweezers
▪Highly Precise ▪Fine Tip
▪Hand Tested ▪Wholesale Prices
Khối lượng chuyên nghiệp Lông mi mở rộng nhíp
▪Chính xác cao ▪Mẹo nhỏ
▪Đã kiểm tra ▪Giá Bán from Buôn
Pinzette per estensione di ciglia volume professionale
▪Altamente preciso ▪Punta fine
▪Testato a mano ▪Prezzi all'ingrosso
Profissional Pinça de extensão de pestanas de volume
▪Alta precisão ▪ponta fina
▪Teste manual ▪Preços por atacado
Профессиональный объемный пинцет для наращивания ресниц
▪ Высоко Точный ▪Точный совет
▪Ручное тестирование ▪Оптовые цены
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24.
How many words have you spoken in your life?
How many did you mean?
How many did you understand?
from Spaces by Arkaye Kierulf
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Khối lượng chuyên nghiệp Lông mi mở rộng nhíp
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The Postcard
A postally unused postcard that was published by Muse Productions of Stroud, and printed in England by Cotswold Printing.
The following information is provided on the divided back of the card:
'James McNeill Whistler
1834 - 1903
Variations in violet and grey -
Market Place, Dieppe 1885.
Watercolour on white paper.
21 cm x 12 cm
Private Collection.
Tate Gallery, London 1994
Musée d'Orsay, Paris 1995
National Gallery of Art, Washington 1995.'
Variations in Violet and Grey - Market Place, Dieppe
During Whistler's visit in 1885 to the Normandy seaside resort of Dieppe, he captured the busy market square from a high vantage point, and accentuated the liveliness of the scene by using his sheet in a vertical format.
The result was one of his most delightful and complex watercolors, filled with energy, variety, and interest despite its surprisingly small size.
The sheet offers a catalogue of the techniques Whistler had mastered by the mid-1880's, the zenith of his work in watercolor. Precise brushstrokes create picturesque figures gathered in the foreground, abstract dabs suggest the distant crowd, and delicate washes indicate old buildings around the square.
The title, "Variations in Violet and Grey," invokes both the musical associations that Whistler so often pursued in creating and naming his works, and his preference for harmonious arrangements distilled from the world of appearances.
Following the successful London exhibition of the watercolor in 1886, it was shown in Paris in 1887, to acclaim and appreciation by contemporaries such as Camille Pissarro, and in New York in 1889.
Its rich exhibition history enhancees its importance, which Whistler himself appears to have recognized.
James McNeill Whistler
James Abbott McNeill Whistler RBA, who was born in 1834, was an American painter in oils and watercolor, and printmaker, active during the American Gilded Age, and based primarily in the United Kingdom.
He eschewed sentimentality and moral allusion in painting, and was a leading proponent of "art for art's sake".
James' signature for his paintings took the shape of a stylized butterfly with an added long stinger for a tail.
The symbol combined both aspects of his personality: his art is marked by a subtle delicacy, while his public persona was combative.
He found a parallel between painting and music, and entitled many of his paintings "arrangements", "harmonies", and "nocturnes", emphasizing the primacy of tonal harmony.
Whistler's most famous painting, Arrangement in Grey and Black No. 1 (1871), commonly known as Whistler's Mother, is a revered and often parodied portrait of motherhood.
Whistler influenced the art world and the broader culture of his time with his aesthetic theories and his friendships with other leading artists and writers.
-- James Abbott Whistler - The Early Years
James Abbott Whistler was born in Lowell, Massachusetts on the 10th. July 1834, the first child of Anna McNeill Whistler and George Washington Whistler. He was the elder brother of Confederate surgeon William McNeill Whistler.
In later years, Whistler played up his mother's connection to the American South and its roots, and he presented himself as an impoverished Southern aristocrat, although it remains unclear to what extent he truly sympathized with the Southern cause during the American Civil War.
He adopted his mother's maiden name after she died, using it as an additional middle name.
James' father was a railroad engineer, and Anna was his second wife. James lived the first three years of his life in a modest house at 243 Worthen Street in Lowell, Massachusetts. The house is now the Whistler House Museum of Art, a museum dedicated to him.
James claimed St. Petersburg, Russia as his birthplace during the Ruskin trial:
"I shall be born when and where
I want, and I do not choose to be
born in Lowell."
Whistler was a moody child, prone to fits of temper and insolence, and he often drifted into periods of laziness after bouts of illness. His parents discovered that drawing often settled him down and helped to focus his attention.
The family moved from Lowell to Stonington, Connecticut in 1837, where his father worked for the Stonington Railroad. Three of the couple's children died in infancy during this period.
Their fortunes improved considerably in 1839 when his father became chief engineer for the Boston & Albany Railroad, and the family built a mansion in Springfield, Massachusetts, where the Wood Museum of History now stands.
-- James Whistler in Russia and England
The family lived in Springfield until they left the United States for Russia in late 1842 when James' father was recruited by Nicholas I of Russia to design a railroad in Russia.
The Emperor had learned of George Whistler's ingenuity in engineering the Canton Viaduct for the Boston & Albany Railroad, and he offered him a position to engineer the railway from Saint Petersburg to Moscow.
After moving to St. Petersburg, the young Whistler took private art lessons, then enrolled in the Imperial Academy of Arts at the age of eleven.
The young artist followed the traditional curriculum of drawing from plaster casts and occasional live models, revelled in the atmosphere of art talk with older peers, and pleased his parents with a first-class mark in anatomy.
In 1844, he met the noted artist Sir William Allan, who came to Russia with a commission to paint a history of the life of Peter the Great. Whistler's mother noted in her diary:
"The great artist remarked to me:
'Your little boy has uncommon
genius, but do not urge him
beyond his inclination.'"
In 1847–1848, James' family spent some time in London with relatives, while his father stayed in Russia. Whistler's brother-in-law Francis Haden, a physician who was also an artist, spurred his interest in art and photography. Haden took Whistler to visit collectors and to lectures, and gave him a watercolour set with instruction.
Whistler already was imagining an art career. He began to collect books on art, and he studied other artists' techniques. When his portrait was painted by Sir William Boxall in 1848, the young Whistler exclaimed that:
"The portrait is very much like me,
and a very fine picture. Mr. Boxall
is a beautiful colourist... It is a
beautiful creamy surface, and looks
so rich."
In his blossoming enthusiasm for art, at fifteen, he informed his father by letter of his future direction:
"I hope, dear father, you will
not object to my choice."
His father, however, died from cholera at the age of 49, and the Whistler family moved back to his mother's home town of Pomfret, Connecticut.
The family lived frugally and managed to get by on a limited income. James' art plans remained vague, and his future uncertain. His cousin reported that Whistler at that time was:
"... slight, with a pensive, delicate face,
shaded by soft brown curls... he had a
somewhat foreign appearance and
manner, which, aided by natural abilities,
made him very charming, even at that
age."
-- Whistler at West Point
Whistler was sent to Christ Church Hall School with his mother's hopes that he would become a minister. Whistler was seldom without his sketchbook, and was popular with his classmates for his caricatures.
However, it became clear that a career in religion did not suit him, so he applied to the United States Military Academy at West Point, where his father had taught drawing and other relatives had attended.
James was admitted to the highly selective institution in July 1851 on the strength of his family name, despite his extreme nearsightedness and poor health history.
However, during his three years there, his grades were barely satisfactory, and he was a sorry sight at drill and dress, known as "Curly" for his hair length which exceeded regulations.
Whistler bucked authority, spouted sarcastic comments, and racked up demerits. Colonel Robert E Lee was the West Point Superintendent and, after considerable indulgence toward Whistler, he had no choice but to dismiss the young cadet.
Whistler's major accomplishment at West Point was learning drawing and map making from American artist Robert W. Weir.
James' departure from West Point seems to have been precipitated by a failure in a chemistry exam where he was asked to describe silicon. He began by saying:
"Silicon is a gas."
As Whistler himself put it later:
"If silicon were a gas, I would
have been a general one day".
-- Whistler's First Job
After West Point, Whistler worked as draftsman mapping the entire U.S. coast for military and maritime purposes. However he found the work boring, and was frequently late or absent.
James spent much of his free time playing billiards and idling about, was always broke, and although a charmer, had little acquaintance with women.
After it was discovered that he was drawing sea serpents, mermaids, and whales on the margins of the maps, he was transferred to the etching division of the United States Coast Survey. He lasted there only two months, but he learned the etching technique which later proved valuable to his career.
At this point, Whistler firmly decided that art would be his future. For a few months he lived in Baltimore with a wealthy friend, Tom Winans, who even furnished Whistler with a studio and some spending cash.
The young artist made some valuable contacts in the art community and also sold some early paintings to Winans. Whistler turned down his mother's suggestions for other more practical careers, and informed her that with money from Winans, he was setting out to further his art training in Paris. Whistler never returned to the United States.
-- Whistler's Art Study in France
Whistler arrived in Paris in 1855, rented a studio in the Latin Quarter, and quickly adopted the life of a bohemian artist. Whistler preferred self-study and enjoyed the café life. Soon he had a French girlfriend, a dressmaker named Héloise.
He studied traditional art methods for a short time at the École Impériale and at the atelier of Charles Gleyre. The latter was a great advocate of the work of Ingres, and impressed Whistler with two principles that he used for the rest of his career: that line is more important than color, and that black is the fundamental color of tonal harmony.
Twenty years later, the Impressionists would largely overthrow this philosophy, banning black and brown as "forbidden colors," and emphasizing color over form.
While letters from home reported his mother's efforts at economy, Whistler spent freely, sold little or nothing in his first year in Paris, and was in steady debt.
To relieve the situation, he took to painting and selling copies from works at the Louvre, and finally moved to cheaper quarters. As luck would have it, the arrival in Paris of George Lucas, another rich friend, helped stabilize Whistler's finances for a while. In spite of a financial respite, the winter of 1857 was a difficult one for Whistler. His poor health, made worse by excessive smoking and drinking, laid him low.
Conditions improved however during the summer of 1858. Whistler recovered and traveled with fellow artist Ernest Delannoy through France and the Rhineland. He later produced a group of etchings known as "The French Set", with the help of French master printer Auguste Delâtre.
During that year, he painted his first self-portrait, Portrait of Whistler with Hat, a dark and thickly rendered work reminiscent of Rembrandt. However the event of greatest consequence that year was his friendship with Henri Fantin-Latour, whom he met at the Louvre.
Through Henri, Whistler was introduced to the circle of Gustave Courbet, which included Carolus-Duran (later the teacher of John Singer Sargent), Alphonse Legros, and Édouard Manet.
Also in this group was Charles Baudelaire, whose ideas and theories of "modern" art influenced Whistler. Baudelaire challenged artists to scrutinize the brutality of life and nature, and to portray it faithfully, avoiding the old themes of mythology and allegory.
Théophile Gautier, one of the first to explore translation qualities among art and music, may have inspired Whistler to view art in musical terms.
-- Whistler in London
Reflecting his adopted circle's banner of the Realism art movement, Whistler painted his first exhibited work, La Mère Gérard in 1858. He followed it by painting At the Piano in 1859 in London, which he adopted as his home, while also regularly visiting friends in France.
At the Piano is a portrait composed of his niece and her mother in their London music room, an effort which clearly displayed his talent and promise. A critic wrote:
"Despite a recklessly bold manner and
sketchiness of the wildest and roughest
kind, it has a genuine feeling for colour
and a splendid power of composition
and design, which evince a just
appreciation of nature very rare
amongst artists."
The work is unsentimental, and effectively contrasts the mother in black and the daughter in white, with other colors kept restrained in the manner advised by his teacher Gleyre. It was displayed at the Royal Academy the following year, and in many exhibitions to come.
In a second painting executed in the same room, Whistler demonstrated his natural inclination toward innovation and novelty by fashioning a genre scene with unusual composition and foreshortening. It later was re-titled Harmony in Green and Rose: The Music Room. This painting also demonstrated Whistler's ongoing work pattern, especially with portraits: a quick start, major adjustments, a period of neglect, then a final flurry at the finish.
After a year in London, James produced a set of etchings in 1860 called Thames Set, as counterpoint to his 1858 French set, as well as some early impressionistic work including The Thames in Ice.
At this stage, he was beginning to establish his technique of tonal harmony based on a limited, predetermined palette.
-- Whistler's Early Career
In 1861, after returning to Paris for a time, Whistler painted his first famous work, Symphony in White, No. 1: The White Girl. The portrait of his mistress and business manager Joanna Hiffernan was created as a simple study in white.
However, others saw it differently. The critic Jules-Antoine Castagnary thought the painting an allegory of a new bride's lost innocence. Others linked it to Wilkie Collins's The Woman in White, a popular novel of the time, or various other literary sources.
In England, some considered it a painting in the Pre-Raphaelite manner. In the painting, Hiffernan holds a lily in her left hand and stands upon a wolf skin rug (interpreted by some to represent masculinity and lust) with the wolf's head staring menacingly at the viewer.
The portrait was refused for exhibition at the conservative Royal Academy, but was shown in a private gallery under the title The Woman in White.
In 1863, it was shown at the Salon des Refusés in Paris, an event sponsored by Emperor Napoleon III for the exhibition of works rejected by the Salon.
Whistler's painting was widely noticed, although upstaged by Manet's more shocking painting Le déjeuner sur l'herbe. Countering criticism by traditionalists, Whistler's supporters insisted that the painting was "an apparition with a spiritual content," and that it epitomized his theory that art should be concerned essentially with the arrangement of colors in harmony, not with a literal portrayal of the natural world.
Two years later, Whistler painted another portrait of Hiffernan in white, this time displaying his newfound interest in Asian motifs, which he entitled The Little White Girl.
His Lady of the Land Lijsen and The Golden Screen, both completed in 1864, again portray his mistress, in even more emphatic Asian dress and surroundings.
During this period Whistler became close to Gustave Courbet, the early leader of the French realist school, but when Hiffernan modeled in the nude for Courbet, Whistler became enraged and his relationship with Hiffernan began to fall apart.
In January 1864, Whistler's very religious and very proper mother arrived in London, upsetting her son's bohemian existence and temporarily increasing family tensions. As he wrote to Henri Fantin-Latour:
"General upheaval!! I had to
empty my house and purify
it from cellar to eaves."
James also immediately moved Hiffernan to another location.
From 1866, Whistler made his home in Chelsea, London, an area popular with artists, firstly in Cheyne Walk, then an ill-fated move to Tite Street, and finally Upper Church Street.
-- Whistler's Later Career
In 1866, Whistler decided to visit Valparaíso, Chile, a journey that has puzzled scholars, although Whistler stated that he did it for political reasons. Chile was at war with Spain, and perhaps Whistler thought it a heroic struggle of a small nation against a larger one, but no evidence supports that theory.
What the journey did produce was Whistler's first three nocturnal paintings (which he originally termed "moonlights"): night scenes of the harbor painted with a blue or light green palette.
After he returned to London, James painted several more nocturnes over the next ten years, many of the River Thames and of Cremorne Gardens, a pleasure park famous for its frequent fireworks displays, which presented a novel challenge to paint.
In his maritime nocturnes, Whistler used highly thinned paint as a ground with lightly flicked color to suggest ships, lights, and shore line. Some of the Thames paintings also show compositional and thematic similarities with the Japanese prints of Hiroshige.
In 1872, Whistler credited his patron Frederick Leyland, an amateur musician devoted to Chopin, for his musically inspired titles:
"I say I can't thank you too much for the name
'Nocturne' as a title for my moonlights! You have
no idea what an irritation it proves to the critics
and consequent pleasure to me—besides it is
really so charming and does so poetically say
all that I want to say and no more than I wish!"
At that point, Whistler painted another self-portrait and entitled it Arrangement in Gray: Portrait of the Painter (circa 1872). He also began to re-title many of his earlier works using terms associated with music, such as a "nocturne", "symphony", "harmony", "study" or "arrangement", to emphasize the tonal qualities and the composition, and to de-emphasize the narrative content.
Whistler's nocturnes were among his most innovative works. Furthermore, his submission of several nocturnes to art dealer Paul Durand-Ruel after the Franco-Prussian War gave Whistler the opportunity to explain his evolving "theory in art" to artists, buyers, and critics in France.
His good friend Fantin-Latour, growing more reactionary in his opinions, especially in his negativity concerning the emerging Impressionist school, found Whistler's new works surprising and confounding. Fantin-Latour admitted:
"I don't understand anything there;
it's bizarre how one changes. I don't
recognize him anymore."
Their relationship was nearly at an end by then, but they continued to share opinions in occasional correspondence.
When Edgar Degas invited Whistler to exhibit with the first show by the Impressionists in 1874, Whistler turned down the invitation, as did Manet, and some scholars attributed this in part to Fantin-Latour's influence on both men.
-- Whistler's Portraits
The Franco-Prussian War of 1870 fragmented the French art community. Many artists took refuge in England, joining Whistler, including Camille Pissarro and Claude Monet, while Manet and Degas stayed in France.
Like Whistler, Monet and Pissarro both focused their efforts on views of the city, and it is likely that Whistler was exposed to the evolution of Impressionism founded by these artists, and that they had seen his nocturnes.
Whistler was drifting away from Courbet's "damned realism" and their friendship had wilted, as had his liaison with Joanna Hiffernan.
-- Whistler's Mother
By 1871, Whistler had returned to portraits and soon produced his most famous painting, the nearly monochromatic full-length figure entitled Arrangement in Grey and Black No.1, but usually referred to as Whistler's Mother.
A model failed to appear one day, according to a letter from his mother, so Whistler turned to his mother and suggested that he do her portrait. He had her stand at first, in his typically slow and experimental way, but that proved too tiring, so the seated pose was adopted. It took dozens of sittings to complete.
The austere portrait in his normally constrained palette is another Whistler exercise in tonal harmony and composition. The deceptively simple design is in fact a balancing act of differing shapes, particularly the rectangles of curtain, picture on the wall, and floor which stabilize the curve of her face, dress, and chair.
Whistler commented that the painting's narrative was of little importance, yet the painting was also paying homage to his pious mother. After the initial shock of her moving in with her son, she aided him considerably by stabilizing his behavior somewhat, tending to his domestic needs, and providing an aura of conservative respectability that helped win over patrons.
The public reacted negatively to the painting, mostly because of its anti-Victorian simplicity during a time in England when sentimentality and flamboyant decoration were in vogue.
Critics thought the painting a failed "experiment" rather than a work of art. The Royal Academy rejected it, but then grudgingly accepted it after lobbying by Sir William Boxall - but they hung it in an unfavorable location at their exhibition.
From the start, Whistler's Mother sparked varying reactions, including parody, ridicule, and reverence, which have continued to this day. Some saw it as "the dignified feeling of old ladyhood", "a grave sentiment of mourning", or a "perfect symbol of motherhood."
Others however employed it as a fitting vehicle for mockery. It has been satirized in endless variations in greeting cards and magazines, and by cartoon characters such as Donald Duck and Bullwinkle the Moose.
Whistler did his part in promoting the picture and popularizing the image. He frequently exhibited it, and authorized the early reproductions that made their way into thousands of homes.
The painting narrowly escaped being burned in a fire aboard a train during shipping. It was ultimately purchased by the French government, the first Whistler work in a public collection, and is now housed in the Musée d'Orsay in Paris.
During the Great Depression in the United States, the picture was billed as a "million dollar" painting, and was a big hit at the 1933–34 Chicago World's Fair. It was accepted as a universal icon of motherhood by the worldwide public, which was not particularly aware of or concerned with Whistler's aesthetic theories.
In recognition of its status and popularity, the United States issued a postage stamp in 1934 featuring an adaptation of the painting.
In 2015, New Yorker critic Peter Schjeldahl wrote:
"It remains the most important
American work residing outside
the United States."
Martha Tedeschi wrote:
"Whistler's Mother, Wood's American Gothic, Leonardo
da Vinci's Mona Lisa and Edvard Munch's The Scream
have all achieved something that most paintings -
regardless of their art historical importance, beauty, or
monetary value - have not: they communicate a specific
meaning almost immediately to almost every viewer.
These few works have successfully made the transition
from the elite realm of the museum visitor to the
enormous venue of popular culture."
-- Other Portraits by Whistler
Other important portraits by Whistler include those of Thomas Carlyle (historian, 1873), Maud Franklin (his mistress, 1876), Cicely Alexander (daughter of a London banker, 1873), Lady Meux (socialite, 1882), and Théodore Duret (critic, 1884).
In the 1870's, Whistler painted full-length portraits of his benefactor Frederick Leyland and his wife Frances. Leyland subsequently commissioned the artist to decorate his dining room.
Whistler had been disappointed over the irregular acceptance of his works for the Royal Academy exhibitions and the poor hanging and placement of his paintings. In response, Whistler staged his first solo show in 1874.
The show was notable and noticed, however, for Whistler's design and decoration of the hall, which harmonized well with the paintings, in keeping with his art theories. A reviewer wrote:
"The visitor is struck, on entering the gallery,
with a curious sense of harmony and fitness
pervading it, and is more interested, perhaps,
in the general effect than in any one work."
Whistler was not so successful a portrait painter as the other famous expatriate American John Singer Sargent. Whistler's spare technique and his disinclination to flatter his sitters, as well as his notoriety, may account for this. He also worked very slowly, and demanded extraordinarily long sittings.
William Merritt Chase complained of his sitting for a portrait by Whistler:
"He proved to be a veritable tyrant, painting
every day into the twilight, while my limbs
ached with weariness and my head swam
dizzily. 'Don't move! Don't move!' he would
scream whenever I started to rest."
By the time James gained widespread acceptance in the 1890's, Whistler was past his prime as a portrait painter.
-- Whistler's Technique
Whistler's approach to portraiture in his late maturity was described by one of his sitters, Arthur J. Eddy, who posed for the artist in 1894:
"He worked with great rapidity and long hours, but
he used his colours thin, and covered the canvas with innumerable coats of paint. The colours increased in
depth and intensity as the work progressed.
At first the entire figure was painted in greyish-brown
tones, with very little flesh colour, the whole blending
perfectly with the greyish-brown of the prepared
canvas.
Then the entire background would be intensified a
little; then the figure made a little stronger; then the
background, and so on from day to day and week to
week, and often from month to month. ... And so the
portrait would really grow, really develop as an entirety,
very much as a negative under the action of the chemicals
comes out gradually - light, shadows, and all from the
very first faint indications to their full values.
It was as if the portrait were hidden within the canvas,
and the master by passing his wands day after day
over the surface evoked the image."
-- Whistler's Printmaking
Whistler produced numerous etchings, lithographs, and dry-points. His lithographs, some drawn on stone, others drawn directly on "lithographie" paper, are perhaps half as numerous as his etchings.
Some of the lithographs are of figures slightly draped; two or three of the very finest are of Thames subjects - including a "nocturne" at Limehouse; while others depict the Faubourg Saint-Germain in Paris, and Georgian churches in Soho and Bloomsbury in London.
The etchings include portraits of family, mistresses, and intimate street scenes in London and Venice. Whistler gained an enormous reputation as an etcher. Martin Hardie wrote:
"There are some who set him beside Rembrandt,
perhaps above Rembrandt, as the greatest master
of all time. Personally, I prefer to regard them as
the Jupiter and Venus, largest and brightest
among the planets in the etcher's heaven."
James took great care over the printing of his etchings and the choice of paper. At the beginning and end of his career, he placed great emphasis on cleanness of line, though in a middle period he experimented more with inking and the use of surface tone.
-- Whistler's Butterfly Signature and Painting Settings
Whistler's famous butterfly signature first developed in the 1860's out of his interest in Asian art. He studied the potter's marks on the china he had begun to collect, and decided to design a monogram of his initials.
Over time this evolved into the shape of an abstract butterfly. By around 1880, he added a stinger to the butterfly image to create a mark representing both his gentle, sensitive nature and his provocative, feisty spirit.
He took great care in the appropriate placement of the image on both his paintings and his custom-made frames. His focus on the importance of balance and harmony extended beyond the frame to the placement of his paintings in their settings, and further to the design of an entire architectural element, as in the Peacock Room.
-- The Peacock Room
Harmony in Blue and Gold: The Peacock Room is Whistler's masterpiece of interior decorative mural art. Painted in 1876–1877, it is now considered a high example of the Anglo-Japanese style.
Frederick Leyland left the room in Whistler's care to make minor changes, "to harmonize" the room whose primary purpose was to display Leyland's china collection.
James painted over the original paneled room designed by Thomas Jeckyll (1827–1881), in a unified palette of brilliant blue-greens with over-glazing and metallic gold leaf.
Whistler let his imagination run wild, however:
"Well, you know, I just painted on. I went on -
without design or sketch - putting in every
touch with such freedom ... And the harmony
in blue and gold developing, you know, I forgot
everything in my joy of it."
James completely painted over 16th.-century Cordoba leather wall coverings first brought to Britain by Catherine of Aragon that Leyland had paid £1,000 for.
Having acquired the centerpiece of the room, Whistler's painting of The Princess from the Land of Porcelain, American industrialist and aesthete Charles Lang Freer purchased the entire room in 1904 from Leyland's heirs, including Leyland's daughter and her husband, the British artist Val Prinsep.
Freer then had the contents of the Peacock Room installed in his Detroit mansion. After Freer's death in 1919, The Peacock Room was permanently installed in the Freer Gallery of Art at the Smithsonian in Washington, D.C. The gallery opened to the public in 1923.
A large painted caricature by Whistler of Leyland portraying him as an anthropomorphic peacock playing a piano, and entitled The Gold Scab: Eruption in Frilthy Lucre – a pun on Leyland's miserliness and fondness for frilly shirt fronts – is in the permanent collection of the Fine Arts Museums of San Francisco.
-- Whistler and the Ruskin Trial
In 1877 Whistler sued the critic John Ruskin after the critic condemned his painting Nocturne in Black and Gold: The Falling Rocket. Whistler exhibited the work in the Grosvenor Gallery, an alternative to the Royal Academy exhibition, alongside works by Edward Burne-Jones and other artists.
Ruskin, who had been a champion of the Pre-Raphaelites and J. M. W. Turner, reviewed Whistler's work in his publication Fors Clavigera on the 2nd. July 1877. Ruskin praised Burne-Jones, while he attacked Whistler:
"For Mr. Whistler's own sake, no less than for
the protection of the purchaser, Sir Coutts
Lindsay (founder of the Grosvenor Gallery)
ought not to have admitted works into the
gallery in which the ill-educated conceit of
the artist so nearly approached the aspect
of willful imposture.
I have seen, and heard, much of Cockney
impudence before now; but never expected
to hear a coxcomb ask two hundred guineas
for flinging a pot of paint in the public's face."
Whistler, seeing the attack in the newspaper, replied to his friend George Boughton:
"It is the most debased style
of criticism I have had thrown
at me yet."
He then went to his solicitor and drew up a writ for libel, which was served to Ruskin. Whistler hoped to recover £1,000 plus the costs of the action. The case came to trial the following year after delays caused by Ruskin's bouts of mental illness, while Whistler's financial condition continued to deteriorate.
The case was heard in the Exchequer Division of the High Court on the 25th. and 26th. November 1878, before Baron Huddleston and a special jury. Counsel for John Ruskin, Attorney General Sir John Holker, cross-examined Whistler:
Holker: "What is the subject of Nocturne in
Black and Gold: The Falling Rocket?"
Whistler: "It is a night piece, and represents
the fireworks at Cremorne Gardens."
Holker: "Not a view of Cremorne?"
Whistler: "If it were A View of Cremorne it
would certainly bring about nothing but
disappointment on the part of the beholders.
It is an artistic arrangement. That is why I call
it a nocturne. ..."
Holker: "Did it take you much time to paint
the Nocturne in Black and Gold? How soon
did you knock it off?"
Whistler: "Oh, I 'knock one off' possibly in a
couple of days – one day to do the work and
another to finish it ..."
Holker: "The labour of two days is that for
which you ask two hundred guineas?"
Whistler: "No, I ask it for the knowledge
I have gained in the work of a lifetime."
Whistler had counted on many artists to take his side as witnesses, but they refused, fearing damage to their reputations. The other witnesses for him were unconvincing, and the jury's own reaction to the work was derisive.
With Ruskin's witnesses being more impressive, including Edward Burne-Jones, and with Ruskin absent for medical reasons, Whistler's counterattack was ineffective. Nonetheless, the jury reached a verdict in favor of Whistler, but awarded a mere farthing in nominal damages, and the court costs were split.
The cost of the case, together with huge debts from building his residence ("The White House" in Tite Street, Chelsea, designed with E. W. Godwin, 1877–8), bankrupted him by May 1879, resulting in an auction of his work, collections, and house.
Stansky notes the irony that the Fine Art Society of London, which had organized a collection to pay for Ruskin's legal costs, supported him in etching "The Stones of Venice" (and in exhibiting the series in 1883), which helped recoup Whistler's costs.
Whistler published his account of the trial in the pamphlet Whistler v. Ruskin: Art and Art Critics, included in his later The Gentle Art of Making Enemies (1890), in December 1878, soon after the trial.
Whistler's grand hope that the publicity of the trial would rescue his career was dashed as he lost rather than gained popularity among patrons because of it. Among his creditors was Leyland, who oversaw the sale of Whistler's possessions.
Whistler made various caricatures of his former patron, including a biting satirical painting called The Gold Scab, just after Whistler declared bankruptcy. Whistler always blamed Leyland for his financial downfall.
-- Whistler's Later Years
Anna Lea Merritt wrote:
"It is always a delight to remember that actually
once Mr. Whistler was really shy! Those who had
the pleasure of hearing his first Ten O'Clock must
remember that when he came before his rather
puzzled and distinguished audience, there were
a few minutes of very palpable stage fright."
After the trial, Whistler received a commission to do twelve etchings in Venice. He eagerly accepted the assignment, and arrived in the city with girlfriend Maud Franklin, taking rooms in a dilapidated palazzo they shared with other artists, including John Singer Sargent.
Although homesick for London, he adapted to Venice and set about discovering its character. He did his best to distract himself from the gloom of his financial affairs and the pending sale of all his goods at Sotheby's.
He was a regular guest at parties at the American consulate, and with his usual wit, enchanted the guests with verbal flourishes such as:
"The artist's only positive virtue
is idleness - and there are so
few who are gifted at it."
His new friends reported, on the contrary, that Whistler rose early and put in a full day of effort. He wrote to a friend:
"I have learned to know a Venice in
Venice that the others never seem
to have perceived, and which, if I
bring back with me as I propose,
will far more than compensate for
all annoyances, delays & vexations
of spirit."
The three-month assignment stretched to fourteen months. During this exceptionally productive period, Whistler finished over fifty etchings, several nocturnes, some watercolors, and over 100 pastels - illustrating both the moods of Venice and its fine architectural details.
Furthermore, Whistler influenced the American art community in Venice, especially Frank Duveneck (and Duveneck's "boys") and Robert Blum who emulated Whistler's vision of the city and later spread his methods and influence back to America.
Back in London, the pastels sold particularly well, and James quipped:
"They are not as good as I
supposed. They are selling!"
James was actively engaged in exhibiting his other work, but with limited success. Though still struggling financially, he was heartened by the attention and admiration he received from the younger generation of English and American painters who made him their idol, and eagerly adopted the title "pupil of Whistler".
Many of them returned to America and spread tales of Whistler's provocative egotism, sharp wit, and aesthetic pronouncements - establishing the legend of Whistler, much to his satisfaction.
In January 1881, his mother Anna Whistler died. In her honour, he publicly adopted her maiden name McNeill as a middle name.
Whistler published his first book, Ten O'Clock lecture in 1885, a major expression of his belief in "art for art's sake". At the time, the opposing Victorian notion reigned, namely, that art, and indeed much human activity, had a moral or social function.
To Whistler, however, art was its own end, and the artist's responsibility was not to society, but to himself, to interpret through art, and to neither reproduce nor moralize what he saw. Furthermore, he stated:
"Nature is very rarely right, and
must be improved upon by the
artist, with his own vision."
Though differing with Whistler on several points, including his insistence that poetry was a higher form of art than painting, Oscar Wilde was generous in his praise, and hailed the lecture as a masterpiece:
".... not merely for its clever satire and amusing
jests ... but for the pure and perfect beauty of
many of its passages ... for that he is indeed one
of the very greatest masters of painting, in my
opinion. And I may add that in this opinion Mr.
Whistler himself entirely concurs."
Whistler, however, thought himself mocked by Oscar Wilde, and from then on, public sparring ensued leading to a total breakdown of their friendship, precipitated by a report written by Herbert Vivian. Later, Wilde "symbolically murdered Whistler", basing Basil Hallward, the murdered artist in his novel The Picture of Dorian Gray, on Whistler.
Whistler joined the Society of British Artists in 1884, and on the 1st. June 1886, he was elected president. The following year, during Queen Victoria's Golden Jubilee, Whistler presented to the Queen, on the Society's behalf, an elaborate album including a lengthy written address and illustrations that he made.
Queen Victoria so admired "the beautiful and artistic illumination" that she decreed henceforth, "that the Society should be called Royal."
This achievement was widely appreciated by the members, but soon it was overshadowed by the dispute that inevitably arose with the Royal Academy of Arts.
Whistler proposed that members of the Royal Society should withdraw from the Royal Academy. This ignited a feud within the membership ranks that overshadowed all other society business. In May 1888, nine members wrote to Whistler to demand his resignation. At the annual meeting on the 4th. June 1888, he was defeated for re-election by a vote of 18–19, with nine abstentions.
Whistler and 25 supporters resigned, while the anti-Whistler majority (in his view) was successful in purging him for his "eccentricities" and "non-English" background.
With his relationship with Maud Franklin unraveling, Whistler suddenly proposed to Beatrice Godwin (also called Beatrix or Trixie), a former pupil and the widow of his late friend, architect Edward William Godwin.
Through his friendship with Godwin, Whistler had become close to Beatrice, whom Whistler painted in the full-length portrait titled Harmony in Red: Lamplight.
By the summer of 1888 Whistler and Beatrice appeared in public as a couple. At a dinner Louise Jopling and Henry Labouchère insisted that they should be married before the end of the week.
The marriage ceremony was quickly arranged; as a member of Parliament, Labouchère arranged for the Chaplain to the House of Commons to marry the couple. No publicity was given to the ceremony to avoid the possibility of a furious Maud Franklin interrupting the marriage ceremony.
The marriage took place on August 11, 1888, with the ceremony attended by a reporter from the Pall Mall Gazette, so that the event received publicity. The couple left soon after for Paris, to avoid any risk of a scene with Maud.
Whistler's reputation in London and Paris was rising, and he gained positive reviews from critics and new commissions. His book The Gentle Art of Making Enemies was published in 1890 with mixed success, but it afforded helpful publicity.
In 1890 James met Charles Lang Freer, who became a valuable patron in America, and ultimately his most important collector.
Around this time, in addition to portraiture, Whistler experimented with early colour photography and with lithography, creating a series featuring London architecture and the human figure, mostly female nudes.
He contributed the first three of his Songs of Stone lithographs to The Whirlwind, a Neo-Jacobite magazine published by his friend Herbert Vivian. Whistler had met Vivian in the late 1880's when both were members of the Order of the White Rose, the first of the Neo-Jacobite societies.
In 1891, with help from his close friend Stéphane Mallarmé, Whistler's Mother was purchased by the French government for 4,000 francs. This was much less than what an American collector might have paid, but that would not have been so prestigious by Whistler's reckoning.
After an indifferent reception to his solo show in London, featuring mostly his nocturnes, Whistler abruptly decided he had had enough of London. He and Trixie moved to Paris in 1892, and resided at n° 110 Rue du Bac, Paris, with his studio at the top of 86 Rue Notre Dame des Champs in Montparnasse.
He felt welcomed by his old Paris friends Monet, Auguste Rodin, Henri de Toulouse-Lautrec, as well as Stéphane Mallarmé, and he set himself up a large studio.
James was at the top of his career when it was discovered that his wife Trixie had cancer. They returned to London in February 1896, taking rooms at the Savoy Hotel while they sought medical treatment. He made drawings on lithographic transfer paper of the view of the River Thames, from the hotel window or balcony, as he sat with her. She died a few months later.
In 1899, Charles Freer introduced Whistler to his friend and fellow businessman Richard Albert Canfield, who became a personal friend and patron of Whistler's. Canfield owned a number of fashionable gambling houses in New York and Rhode Island, including Saratoga Springs and Newport, and was also a man of culture with refined tastes in art.
Canfield owned early American and Chippendale furniture, tapestries, Chinese porcelain and Barye bronzes; he also possessed the second-largest and most important Whistler collection in the world prior to his death in 1914.
In May 1901, Canfield commissioned a portrait from Whistler; he started to pose for Portrait of Richard A. Canfield in March 1902. According to Alexander Gardiner, Canfield returned to Europe to sit for Whistler at the New Year in 1903, and sat every day until May 16, 1903.
Whistler was ill and frail by this time, and the work was his last completed portrait. The deceptive air of respectability that the portrait gave Canfield caused Whistler to call it 'His Reverence'. The two men were in correspondence from 1901 until Whistler's death.
A few months before his own death, Canfield sold his collection of etchings, lithographs, drawings and paintings by Whistler to the American art dealer Roland F. Knoedler for $300,000. Three of Canfield's Whistler paintings hang in the Frick Museum in New York City.
In the final seven years of his life, Whistler did some minimalist seascapes in watercolor and a final self-portrait in oil. He corresponded with his many friends and colleagues. Whistler founded an art school in 1898, but his poor health and infrequent appearances led to its closure in 1901.
-- Whistler's Death
James died in London on the 17th. July 1903, six days after his 69th. birthday. He was laid to rest in Chiswick Old Cemetery in west London, adjoining St. Nicholas' Church, Chiswick.
-- Whistler The Man
Whistler was the subject of a 1908 biography by his friends, the husband-and-wife team of Joseph Pennell and Elizabeth Robins Pennell, printmaker and art critic respectively.
The Pennells' vast collection of Whistler material was bequeathed to the Library of Congress. The artist's entire estate was left to his sister-in-law Rosalind Birnie Philip. She spent the rest of her life defending his reputation and managing his art and effects, much of which eventually was donated to Glasgow University.
Whistler had a distinctive appearance, short and slight, with piercing eyes and a curling mustache, often sporting a monocle and the flashy attire of a dandy.
He affected a posture of self-confidence and eccentricity. He often was arrogant and selfish toward friends and patrons. A constant self-promoter and egoist, he relished shocking both friends and enemies.
Though he could be droll and flippant about social and political matters, he always was serious about art, and often invited public controversy and debate to argue for his strongly held theories.
Whistler had a high-pitched, drawling voice and a unique manner of speech, full of calculated pauses. A friend said:
"In a second you discover that he is not
conversing - he is sketching in words,
giving impressions in sound and sense
to be interpreted by the hearer."
Whistler was well known for his biting wit, especially in exchanges with his friend and rival Oscar Wilde. Both were figures in the Café society of Paris, and they were often the "talk of the town".
They frequently appeared as caricatures in Punch, to their mutual amusement. On one occasion, young Oscar Wilde attended one of Whistler's dinners, and hearing his host make some brilliant remark, apparently said, "I wish I'd said that", to which Whistler riposted, "You will, Oscar, you will!"
In fact, Wilde did repeat in public many witticisms created by Whistler. Their relationship soured by the mid-1880's, as Whistler turned against Wilde and the Aesthetic Movement. When Wilde was publicly acknowledged to be a homosexual in 1895, Whistler openly mocked him.
Whistler revelled in preparing and managing his social gatherings. As a guest observed:
"One met all the best in Society there—the people
with brains, and those who had enough to appreciate
them. Whistler was an inimitable host. He loved to be
the Sun round whom we lesser lights revolved ...
All came under his influence, and in consequence,
no one was bored, no one dull."
In Paris, Whistler was friends with members of the Symbolist circle of artists, writers and poets that included Stéphane Mallarmé and Marcel Schwob. Schwob had met Whistler in the mid-1890's through Stéphane Mallarmé; they had other mutual friends, including Oscar Wilde (until they argued) and Whistler's brother-in-law, Charles Whibley.
Whistler was friendly with many French artists, including Henri Fantin-Latour, Alphonse Legros, and Gustave Courbet. He illustrated the book Les Chauves-Souris with Antonio de La Gandara. He also knew Édouard Manet and the Impressionists, notably Claude Monet, and Edgar Degas.
As a young artist, he was a close friend of Dante Gabriel Rossetti, a member of the Pre-Raphaelite Brotherhood. His close friendships with Monet and poet Stéphane Mallarmé, who translated the Ten O'Clock lecture into French, helped strengthen respect for Whistler by the French public.
Whistler was friendly with his fellow students at Gleyre's studio, including Ignace Schott, whose son Leon Dabo Whistler later would mentor.
Whistler's lover and model for The White Girl, Joanna Hiffernan, also posed for Gustave Courbet. Historians speculate that Courbet used her as the model for his erotic paintings Le Sommeil and L'Origine du Monde, possibly leading to the breakup of the friendship between Whistler and Courbet.
During the 1870's and much of the 1880's, Whistler lived with his model and mistress Maud Franklin. Her ability to endure long, repetitive sittings helped Whistler develop his portrait skills.
He not only made several excellent portraits of her, but she was also a helpful stand-in for other sitters. Whistler had two daughters by Maud Franklin: Ione (born circa 1877) and Maud McNeill Whistler Franklin (born 1879).
Maud sometimes referred to herself as 'Mrs. Whistler', and in the census of 1881 gave her name as 'Mary M. Whistler'.
Whistler had several extramarital children, of whom Charles James Whistler Hanson (1870–1935) is the best documented. After Whistler parted from his mistress Joanna Hiffernan, she helped to raise Hanson, even though his mother was the parlour maid, Louisa Fanny Hanson.
In 1888, Whistler married Beatrice Godwin, whom he called Beatrix or Trixie. She was the widow of his friend E. W. Godwin, the architect who had designed Whistler's White House, and the daughter of the sculptor John Birnie Philip and his wife Frances Black.
Beatrix and her sisters Rosalind Birnie Philip and Ethel Whibley posed for many of Whistler's paintings and drawings; with Ethel Whibley modeling for Mother of Pearl and Silver: The Andalusian (1888–1900).
The first five years of their marriage were very happy, but her later life was a time of misery for the couple, due to her illness and eventual death from cancer. Near the end, she lay comatose for much of the time, completely subdued by morphine, given for pain relief. Her death was a heavy blow that Whistler never quite overcame.
-- Whistler's Legacy
Whistler was inspired by and incorporated many sources in his art, including the work of Rembrandt, Velázquez, and ancient Greek sculpture in order to develop his own highly influential and individual style.
He was adept in many media, with over 500 paintings, as well as etchings, pastels, watercolors, drawings, and lithographs.
Whistler was a leader in the Aesthetic Movement, promoting, writing, and lecturing on "art for art's sake." With his pupils, he advocated simple design, economy of means, the avoidance of over-labored technique, and the tonal harmony of the final result.
Whistler has been the subject of many major museum exhibitions, studies, and publications. Like the Impressionists, he employed nature as an artistic resource.
Whistler insisted that it was the artist's obligation to interpret what he saw, not to be a slave to reality, and to "bring forth from chaos glorious harmony".
During his life, he influenced many artists throughout the English-speaking world. Whistler had significant contact and exchanged ideas and ideals with Realist, Impressionist, and Symbolist painters. The artist Walter Sickert was his pupil, and the writer Oscar Wilde was his friend.
Whistler's Tonalism had a profound effect on many American artists, including John Singer Sargent, William Merritt Chase, Henry Salem Hubbell, Willis Seaver Adams (whom he befriended in Venice) and Arthur Frank Mathews.
Whistler met Mathews in Paris in the late 1890's; he took Whistler's Tonalism to San Francisco, spawning a broad use of that technique among turn-of-the-century California artists.
Whistler was also a major influence on the 1880's Heidelberg School movement in Australia, otherwise known as Australian impressionism. As American critic Charles Caffin wrote in 1907:
"Whistler did better than attract a few followers
and imitators; he influenced the whole world of
art.
Consciously or unconsciously, his presence is
felt in countless studios; his genius permeates
modern artistic thought."
During a fourteen-month stay in Venice in 1879 and 1880, Whistler created a series of etchings and pastels that not only reinvigorated his finances (this was after he had declared bankruptcy following the Ruskin trial), but also re-energized the way in which artists and photographers interpreted the city - focusing on the back alleys, side canals, entrance ways, and architectural patterns - and capturing the city's unique atmospherics.
In 1940 Whistler was commemorated on a United States postage stamp when the U.S. Post Office issued a set of 35 stamps commemorating America's famous authors, poets, educators, scientists, composers, artists, and inventors: the Famous Americans Series.
The Gilbert and Sullivan operetta Patience pokes fun at the Aesthetic movement, and the lead character of Reginald Bunthorne is often identified as a send-up of Oscar Wilde, though Bunthorne is more likely an amalgam of several prominent artists, writers, and Aesthetic figures.
Bunthorne wears a monocle and has prominent white streaks in his dark hair, as did Whistler.
Novelist Henry James had become well enough acquainted with Whistler to base several fictional characters on "the queer little Londonized Southerner," most notably in Roderick Hudson and The Tragic Muse.
Whistler also appeared as one of Henry James's most attractive minor characters, the sculptor Gloriani in The Ambassadors, whose personality, way of life, and even home were closely based on Whistler.
George du Maurier's 1894 novel Trilby has a character, Joe Sibley, "the idle apprentice," who was meant to depict Whistler. Whistler threatened to sue, and in subsequent editions the character was replaced by another.
Whistler was also the model for a character in Marcel Proust's novel, In Search of Lost Time — the painter Elstir.
Whistler was the favorite artist of singer and actress Doris Day. She owned and displayed an original etching of Whistler's Rotherhithe and two of his original lithographs, The Steps, Luxembourg Gardens, Paris and The Pantheon, from the Terrace of the Luxembourg Gardens.
Whistler achieved worldwide recognition during his lifetime, including:
- 1884: elected an honorary member of the Royal Academy of Fine Arts in Munich.
- 1892: made an officer of the Légion d'Honneur in France.
- 1898: became a charter member and first president, International Society of Sculptors, Painters and Gravers.
A statue of James McNeill Whistler by Nicholas Dimbleby was erected in 2005 at the north end of Battersea Bridge on the River Thames in London.
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I love how photographs can, with equal ease, capture a human moment, document the world at a precise spot in time, or create art from a mundane tableau. These 20 favorites from last year encompass that range. I hope you will find them enjoyable as well.
Use the links (below) to take you to the original Flickr pages.
1. Bando Mitsuhiro Kai dancer, Little Tokyo by xopherlance, 2. IMG_0796 by Doubletee, 3. Heron meets gherkin by PaulGreen, 4. The Berghoff, Chicago by seanog_72, 5. Headline News by Cinemafia Photography, 6. Endless curves by jefvandenhoute, 7. castle by Cosimo Matteini, 8. Wall of Sound by PaulGreen, 9. ◓range by barbera*, 10. Concentric by gracie's ephemera, 11. Partners by daruma, 12. Path of Light by yushimoto_02 [christian], 13. Spain by California CPA, 14. Untitled by memos to the future, 15. I.A.A.I. by Kozology, 16. this town ain't big enough for the both of us by by Rococo57, 17. sailing Toronto by barbera*, 18. Ringworld by yushimoto_02 [christian], 19. Buddies by Romair, 20. canto ostinato by Rococo57
Created with fd's Flickr Toys
Last night I went to the drug store for some cough medicine. I stopped by the stationary section and saw the Pilot Precise V5. I have read a lot of people's comments on this pen and was wondering what all the fuss is about. I bought a two-pack. I really like this pen!
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27th Jan- a day for walking round town, (about 4 miles to be precise) to go look at houses for next year and put down a reserve on a house we all decided we really liked. Afterwards, we went for a celebratory subway. I had a whole footlong sub, although mum says I can't eat one. I CAN EAT A FOOTLONG SUB. Watched 'the jump' with Jake screaming at Davina down the television. I don't get his vendetta against her.
28th Jan- the day for sorting a few things out before the start of the new semester and before our trip to Berlin on the 9th. Picked up a set of subbuteo players at Waterstones in town for 3 quid. Not bad. Watched the Liverpool demolition job of Everton, something Trystan was particularly pleased about. Arsenal dropped points for the first time in a while against the Saints, but it was a tough match to go and win. Hopefully Spurs will do us a favour against City tomorrow. Watching two episodes of Breaking Bad and all I can say is 'Shut up, Skylar' Never have I had hatred this intense for a character.
Geary Boulevard (designated as Geary Street east of Van Ness Avenue) is a major east-west 5.8-mile (9 km) long thoroughfare in San Francisco, California, United States, beginning downtown at Market Street near Market Street's intersection with Kearny Street, and running westbound through downtown, the Civic Center area, the Western Addition, and running for most of its length through the predominantly residential Richmond District. Geary Boulevard terminates near Sutro Heights Park at 48th Avenue, close to the Cliff House above Ocean Beach at the Pacific Ocean.
I am aware that as we use our equipment, we are wearing it out to some extent; and in my shop, no greater sensitive and precise mechanism exists than the Monotype moulds. Even though what I have was saved from immediate destruction, the factories are gone, where a company could send their moulds back to be refitted. I have index cards for some of my Super Caster moulds indicating the original service record for them. In the twenty year life span of the machine at the University of Toronto Press (1962 to 1982) some moulds were back to Monotype several times.
Here is one specific area that is "wearing out". Shown is the location of a circular fibre pad to lubricate the mould in operation (Shown is the underside of the 18 pt. Inset). I confirmed with Duncan at the Type Archive that these pads are no longer available. In this picture, one can see how type metal fragments accumulate in this area, so I am careful to keep the mould clean. The pictures were taken after a run and the mould inset was subsequently cleaned up and put away.
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This custom hydraulic tilter is used for bundles of windshield glass at a glass manufacturing plant.
It is a 15,000 lb. capacity tilter with 155" x 155" platform. It features smooth, precise, vibration-free motion and tilts large bundles of plate glass 90°.
To learn more about this hydraulic tilter project please visit: www.handling.com/Solution.aspx?rid=94
Precise Monoblock Axes
Healthy Machine Torque Head System
Wrench Needle Change Type
Sterilization can be done with High-temperature and High-pressure repeatedly
One Year Manufacturer Warranty
Warangal Fort, in the present-day Indian state of Telangana, appears to have existed since at least the 13th century CE. Although precise dating of its construction and subsequent enhancements are uncertain, historians and archaeologists generally accept that an earlier brick-walled structure was replaced with stone by Ganapatideva, who died in 1262, and that his successors – Rudramadevi and Prataparudra II – added to its height and added gateways, square bastions and additional circular earthern walls prior to the latter's death in 1323. This places the construction towards the end of the Kakatiya period. There were later modifications between the 15th and 17th centuries, comprising principally the addition of barbicans to the four gates in the stone wall and the creation of gates in the outer earthern wall.
Remnants of the structure can be seen today near to the town of Warangal, which was the Kakatiya capital. The Archaeological Survey of India has listed the remains as a Monument of National Importance.
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The 12th and the 13th centuries saw the emergence of the Kakatiyas. They were at first the feudatories of the Western Chalukyas of Kalyana, ruling over a small territory near Warangal. A ruler of this dynasty, Prola II, who ruled from A.D.1110 to 1158, extended his sway to the south and declared his independence. His successor Rudra (A.D.1158--1195) pushed the kingdom to the north up to the Godavari delta. He built a fort at Warangal to serve as a second capital and faced the invasions of the Yadavas of Devagiri. The next ruler Mahadeva extended the kingdom to the coastal area. In A.D.1199, Ganapati succeeded him. He was the greatest of the Kakatiyas and the first after the Satavahanas to bring the entire Telugu area under one rule. He put an end to the rule of the Velanati Cholas in A.D.1210. He forced the Telugu Cholas of Vikramasimhapura to accept his suzerainty. He established order in his vast dominion and encouraged trade.
As Ganapati Deva had no sons, his daughter Rudramba succeeded him in A.D.1262 and carried on the administration. Some generals, who did not like to be ruled by her, rebelled. She could, however, suppress the internal rebellions and external invasions with the help of loyal subordinates. The Cholas and the Yadavas suffered such set backs at her hands that they did not think of troubling her for the rest of her rule.
Prataparudra succeeded his grandmother Rudramba in A.D.1295 and ruled till A.D.1323. He pushed the western border of his kingdom up to Raichur. He introduced many administrative reforms. He divided the kingdom into 75 Nayakships, which was later adopted and developed by the Rayas of Vijayanagara. In his time the territory constituting Andhra Pradesh had the first experience of a Muslim invasion. In A.D.1303, the Delhi Sultan Ala-ud-din Khilji sent an army to plunder the kingdom. But Prataparudra defeated them at Upparapalli in Karimnagar district. In A.D. 1310, when another army under Malik Kafur invaded Warangal, Prataparudra yielded and agreed to pay a large tribute. In A.D.1318, when Ala-ud-din Khilji died, Prataparudra withheld the tribute. It provoked another invasion of the Muslims. In A.D.1321, Ghiaz-ud-din Tughlaq sent a large army under Ulugh Khan to conquer the Telugu country then called Tilling. He laid siege to Warangal, but owing to internal dissensions he called off the siege and returned to Delhi. Within a short period, he came back with a much bigger army. In spite of unpreparedness, Prataparudra fought bravely. For want of supplies, he surrendered to the enemy who sent him to Delhi as a prisoner, and he died on the way. Thus ended the Kakatiya rule, opening the gates of the Telugu land to anarchy and confusion yielding place to an alien ruler.
The Kakatiya period was rightly called the brightest period of the Telugu history. The entire Telugu speaking area was under the kings who spoke Telugu and encouraged Telugu. They established order throughout the strife torn land and the forts built by them played a dominant role in the defence of the realm. Anumakonda and Gandikota among the `giridurgas', Kandur and Narayanavanam among the `vanadurgas', Divi and Kolanu among the `jaladurgas', and Warangal and Dharanikota among the `sthaladurgas' were reckoned as the most famous strongholds in the Kakatiya period. The administration of the kingdom was organized with accent on the military.
Though Saivism continued to be the religion of the masses, intellectuals favoured revival of Vedic rituals. They sought to reconcile the Vaishnavites and the Saivites through the worship of Harihara. Arts and literature found patrons in the Kakatiyas and their feudatories.
WIKIPEDIA & WIKIMAPIA
Kilmallie Parish / Banavie War Memorial
More precise NGR NN 10875 76986
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Many local war memorials have been recently cleaned so came to see if this one had been cleaned but does not seem to have had any work done on it
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TO THE GLORIOUS MEMORY
OF THESE LOCHABER MEN WHO DIED
FOR KING AND COUNTRY IN THE GREAT WAR
1914- 1916
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MJR. E.S. GOOCH, TORCASTLE, BERKS YEOMANRY
TPR. A. MACDOUGALL, CORPACH, SCOTTISH HORSE
Q.M.S. J. CAMERON, MUIRSHEARLICH, LOVAT SCOUTS
TPR. J. MACSALMAN, BANAVUIE, LOVAT SCOUTS
TPR. A. CAMERON, GLENLOY, LOVAT SCOUTS
TPR. A. CAMERON, GUISACHAN, LOVAT SCOUTS
GUNR. D. MACDOUGALL, CORPACH, ARG.MTN.BTY.
PTE. D. CAMERON, CAOL, ROYAL SCOTS.
PTE. A. DONALDSON, MOUNT, K.O.S.B.
PTE. J. ROY DALZIEL, GUISACHAN, SCOTTISH RFLS.
PTE. A. GILLIES, LOCHY-SIDE, SCOTTISH RFLS.
L/CPL. A. CAMERON, BRAINCHAMUS, BLACK WATCH
L/CPL. J. GILMOUR, BLAICH, BLACK WATCH
SERGT. D. CAMPBELL, GLENPEAN, SEAFORTH HDRS.
L/CPL. J. GRAY, BANAVIE, SEAFORTH HDRS.
L/CPL. E. CAMPBELL, GLENPEAN, GORDON HDRS.
PTE. A. MACPHERSON, MUIRSHEARLICH, GORDON HDRS.
CAPT. A. CAMERON. OF LOCHIEL, CAMERON HDRS.
LIEUT. ARCHD. CAMERON. OF LOCHIEL, CAMERON HDRS.
PTE. P.A. SHAND, ACHNACARRY, CAMERON HDRS.
PTE. J. MACDONALD, ACHNACARRY, CAMERON HDRS.
PTE. H. MACCULLOCH, ACHNACARRY, CAMERON HDRS.
PTE. R. BAKER, ACHNACARRY, CAMERON HDRS.
PTE. P. MACDONALD, PUTACHAN, CAMERON HDRS.
PTE. J. MACLENNAN, GLEN-KINGIE, CAMERON HDRS.
PTE. B. SUTHERLAND, GLEN-KINGIE, CAMERON HDRS.
PTE. D. CAMPBELL, GAIRLOCHY,, CAMERON HDRS.
PTE. A. MACMASTER, MUIRSHEARLICH, CAMERON HDRS.
PTE. R.R.S. CRAWFORD, MANSE, CAMERON HDRS.
PTE. A. MACKENZIE, CORPACH, CAMERON HDRS.
PTE. D. MACMILLAN, CORPACH, CAMERON HDRS.
PTE. A. MACINTYRE, TRISLAIG, CAMERON HDRS.
PTE. J. CAMPBELL, BADABRIE, CAMERON HDRS.
PTE. A. MACLAREN, ARDECHIVE, CAMERON HDRS.
PTE. A. CAMERON, ACHAPHUBLE, CAMERON HDRS.
PTE. A. CAMERON, GLENMAILLIE, CAMERON HDRS.
PTE. J. MACLAREN, GLENFINNAN, CAMERON HDRS.
L/CPL. N. MARTIN, BANAVIE, ARG. & SUTHD. HDRS.
PTE. A.C. CAMERON, GLENMAILLIE, M.C.G.
PTE. M. COLQUHOUN, CORPACH, R.A.M.C.
PTE. J. CAMPBELL, GLENPEAN, R.A.M.C.
PTE. J. MACMASTER, FASSFERN, CANADIAN SFTHS.
D. GILLIES, LOCHY=SIDE, TRANSPORT
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"BITHIDH AN CLIU BUAN"
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1939 - 1945
A.B. T. ALEXANDER, TOMONIE, R.N.
A.B. J. MACDONALD, CORPACH, R.N.
A.B. D. ROBERTSON, CORPACH, R.N.
SGT. A. MACINTOSH, CORPACH, R.A.F.
PTE. D. MACDOUGALL, CORPACH, R.A.S.C.
PTE. K. MACDONALD, ACHNACARRY, CAM. HRS.
PTE. P. WILSON, TOMONIE, CAM. HRS.
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ID:MHG52984
Type of record:Monument
Name:Banavie War Memorial, Fort William
Grid Reference:NN 10871 76995
Map Sheet:NN17NW
Civil Parish:KILMALLIE
Geographical Area:LOCHABER
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Site Type WAR MEMORIAL (20TH CENTURY)
Canmore ID 318842
Site Number NN17NW 63
NGR NN 10871 76994
Council HIGHLAND
Parish KILMALLIE
Former Region HIGHLAND
Former District LOCHABER
Former County INVERNESS-SHIRE
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