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THE LIBRARY 
 
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 CATALOGUE OF 
 
 The Cooke Gallery 
 
 HONOLULU. HAWAII 
 MCMXVI 
 
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THE COOKE GALLERY 
 
 CATALOGUE 
 
 OF 
 
 PAINTINGS AND SCULPTURE 
 
 AND 
 
 BIOGRAPHICAL NOTES 
 
 BY 
 MARY J. COULTER 
 
 PUNAHOU. HONOLULU. HAWAII 
 MCMXVI 
 
GIFT 
 
NP.35 
 
 BERGE, EDWARD. ^^/k? 
 
 American: born Baltimore, 1876; sculptor; pupil of Mary- ^ 
 land Institute and Rhinehart School of Sculpture in Baltimore ; 
 Julian Academy, Verlet and Rodin in Paris. 
 
 Awards: Clark Prize, Paris, A. A. A.; bronze medal Pan- 
 American Exposition, Buffalo, 1901; bronze medal St. Louis 
 Exposition, 1904; bronze medal Panama-Pacific International 
 Exposition, San Francisco, 1915. 
 
 Member of: National Sculpture Society; Arts and Crafts 
 Society; Municipal Art Society. 
 
 Among his well-known works are: "Watson Monument," 
 Baltimore; "Pieta," St. Patrick's Church, Washington; "Tat- 
 tersall Monument," Baltimore. 
 
 1. ''The Scalp" (bronze). One of Berge's finest Salon 
 pieces (1901) ; this with his exquisite "Muse Finding the Head 
 of Orpheus" brought him immediate recognition. It is a 
 powerful bit of realism, magnificently handled, and is one 
 of the sculptor's greatest achievements. 
 
 702 
 
CACHOUD, FRANCOIS CHARLES. 
 
 Contemporary French : born Chambrey, (Savoy) ; pupil of 
 Dulaunay and Gustave Moreau. 
 
 Awards : honorable mention, Salon of French Artists, 1893 ; 
 third class medal, Salon of 1896 ; gold medal, Paris Exposition, 
 -1900; second class medal (hors concours), 1902. 
 
 Among his works sold, two have been acquired by the 
 City of Paris, and one is at present hanging in the Petit 
 Palais des Champs-filysees ; one was purchased for the Mem- 
 orial Museum of Philadelphia, and one was bought by Her 
 Majesty the Queen of England. 
 
 2, "The Man With the Lantern." A fine example of the 
 moonlight and night effects so well portrayed by Cachoud. 
 
CARRACCI, FRANCESCO. 
 
 Italian: born Bologna, 1595; died Rome, 1622; son of 
 Giovanni Antonio, and nephew of Agostino and Annibale 
 Carracci; pupil of Lodovico Carracci, and a follower of the 
 Bolognese school. Later he founded a rival academy in 
 Bologna, placing over his door the sign, "The True School 
 of the Carracci." But not meeting with the patronage he 
 expected, he left Bologna and went to Rome, where he died 
 in poverty. His best known pictures are : ' ' The Virgin 
 Adored by Saints" in the Santa Maria Maggiore, Bologna, 
 and '*St. Roch Comforted by an Angel," in the Oratory of 
 San Rocco. 
 
 Besides his paintings, Carracci also produced a few plates 
 signed F. C. or F. C. S., engraved from the designs of Lodovico 
 and Annibale. 
 
 3. "The Marriage of St. Catherine" (in old Florentine 
 frame), from the Brett collection, sold by order of the Court 
 of Chancery, England, 1881, and an interesting example of 
 the work of Carracci. 
 
COQUES, GONZALES. 
 
 Flemish : born Antwerp, 1618 ; died Antwerp, 1684 ; portrait 
 painter; pupil of Peter Brueghel, as whose pupil he entered 
 the Guild of St. Luke, in 1627. Later he studied under Eyck- 
 aert, the elder, whose daughter he married in 1643. In 1665 
 he was president of the guild and again in 1680-81. His 
 portraits, mostly small, are in the manner of Van Dyek, and 
 he has often been called "The Little Van Dyck." His touch 
 is broad and spirited; his color clear and harmonious in his 
 warm brownish flesh tones; the backgrounds in his pictures 
 are often the work of other painters of his school, the master 
 confining himself to the more important work of the figures. 
 His single heads and his groups of family portraits were ranked 
 superior to those of every artist of his time, Van Dyck alone 
 excepted. Although his heads are extremely small, they are 
 drawn with the utmost correctness and have all the breadth, 
 freedom of touch and animated character of the portraits of 
 Van Dyck. The paintings of Coques are very rare and valu- 
 able. Among his works are: ''Portrait of a Lady," Antwerp 
 Museum; "Literior of a Picture Gallery," Hague Museum; 
 "Family Portrait" (group in a garden), National Gallery, 
 London; "The Artist and His Family," Louvre. 
 
 4. "The Burgomaster's Family." Bought from an old 
 English Rectory in 1879, and a splendid and characteristic 
 example of this artist's work. 
 
 11 
 
COURBET, GUSTAVE. 
 
 French: born Ornans, 1819; died La Tour-de-Peiltz near 
 Vevey, Switzerland, 1878; painter of genre, landscape and 
 portraiture; in 1839 studied law in Paris but later gave it up 
 for painting and attended many studios, but worked chiefly 
 in those of David d 'Angers, Steuben and Hesse. The lack 
 of success his early picture met with only proved a stimulus 
 and led him to a more constant and closer study of nature. 
 In 1844 he exhibited his work, but it was not until 1849 that 
 he received much attention. An exhibition of his works at 
 Besancon, Dijon, Munich and Frankfort, in 1854, made his 
 reputation, and in 1849-57 and 61 he received many medals 
 and honors. In 1871 he was sentenced to six months' imprison- 
 ment as chief instigator of the overthrow of the Vendome 
 Column, and after his release he retired to Switzerland. He 
 was an intense but unemotional realist; his landscapes are 
 distinguished by truthful rendering, simplicity and careful 
 finish; his coloring, especially his green, is ever sobre yet 
 warm and rich. Among his best known works are: ** After- 
 noon at Ornans," Lille Museum; "Stars in Springtime," 
 Marseilles Museum; "Valley of Puits Noir," Luxembourg 
 Museum; "Woman With a Parrot," Metropolitan Museum, 
 and "A Beggar's Alms House," Louvre. 
 
 5. "Landscape." Scene in Switzerland. 
 
 13 
 
CRANACH, LUCAS (The Elder). 
 
 German: born Kronach, 1472; died Weimar, 1553; histori- 
 cal and portrait painter. In 1493 he accompanied his patron, 
 the Elector Frederick the Wise, to Holy Land; in 1504 was 
 established at Wittenberg as court painter, and in 1508 he 
 received a coat-of-arms and patent of nobility. He was a 
 man of much importance in Wittenberg, for he was twice 
 (1537 and 1540) elected burgomaster of the town where, 
 besides his large art workshops, he carried on a book-binding 
 business and an apothecary's shop. In 1509 Cranach was 
 sent by the Elector on an embassy to the art-loving Emperor 
 Maximilian; during his visit he painted the portrait of the 
 young prince, later Charles V., and afterwards executed some 
 drawings for what is called Maximilian's Prayer Book. 
 Cranach held the office of court painter to the House of 
 Saxony under three successive Electors, the last one being 
 the noble but ill-fated Frederick the Magnanimous, whose 
 captivity the artist shared, after the battle of Muhlberg at 
 Ausberg, where he met and painted Titian in 1552. Cranach 
 was a prolific painter and his works are to be found in art 
 galleries and churches throughout Europe. His reputed paint- 
 ings %pe of unequal merit, chiefly because many ascribed to 
 him are atelier-works, done under his direction by his sons 
 and pupils. His work may be divided into two distinct periods : 
 the paintings done in his first manner, before 1520, and after 
 a short period of transition, those done in his second manner, 
 which dates from 1530. Lucas Cranach, the younger, born 
 in 1515, succeeded his father, and his work is often confused 
 with that of the elder. Cranach was equally well-known as 
 an engraver, and Heller accredits him with more than eight 
 hundred prints, mostly wood-cuts, though he executed a few 
 copper plates. His works were usually signed with the crest 
 bestowed on him by Frederick the Wise. 
 
 6. "Christ Blessing the Children" (from the Brett collec- 
 tion). A magnificent work, painted in Cranach 's early manner. 
 
 15 
 
signed with his crest and dated 1510. This picture suggests 
 an altar piece and is believed to be a portion of a much larger 
 painting. The central figure is very similar to that in "Our 
 Lord and the Sinning Woman," by Crai^ach, in the Alto 
 Pinakothek, Munich. 
 
 17 
 
DAUBIGNY, CHARLES FRANQOIS. 
 
 French: born Paris, 1817; died Paris, 1878: one of the 
 most distinguished and celebrated of French landscape painters 
 and etchers; son of Edme Frangois Daubigny, under whose 
 tuition he painted boxes, clock cases and other articles of 
 commerce. In 1835 he visited Italy, and on his return to 
 France the following year he entered the studio of Paul De- 
 laroche. He first exhibited at the Salon in 1838. He was 
 also an etcher of note ; his prints are now rare and are charac- 
 terized by their purity of effect; several of his etchings 
 appeared in Curmer's "Jardin des Plantes," "Beaux Arts," 
 and in the ''Artiste"; but the best are "Le Buisson" and 
 "Le Coup de Soleil," after the pictures of Ruisdael in the 
 Louvre. Some of his finest paintings are river scenes, which 
 he often painted from a barge fitted up as a floating studio. 
 Among his best works are the two in the Luxembourg Gallery, 
 ''Sluice in the Valley of Optevoz" (1855), and "The Vint- 
 age" (1863). 
 
 Awards : medal, French Salon, 1848 and 1853 ; medal, Paris 
 Universal Exposition, 1855 and 1867. 
 
 7. "The Banks of the River Oise, near Isle d'Adam," 
 From the collection of Mr. Marczell von Nemes, Erdler von 
 Janoshalma, Budapest. 
 
 19 
 
DUPEE, JULES. 
 
 French: born Nantes, 1811; died L'Isle -Adam, 1889; Bar- 
 bizon school. He learned the rudiments of art as a decorator 
 in the porcelain factory of his father, and later was for a short 
 time pupil of Laugee and Pils, in Paris, but is mainly con- 
 sidered self-taught. He spent much time wandering through 
 the neighboring country, painting studies out of-doors with 
 simple fidelity; and untrammelled by school traditions, he 
 came to Paris at the age of twenty-three and exhibited three 
 pictures in the Salon of 1831. He was awarded a medal in 
 1833, and continued to exhibit until 1839, when he sent seven 
 landscapes to the Salon; after that he did not contribute 
 until 1852. In 1867 he sent twelve works to the Universal 
 Exhibition, and although he was only awarded a second class 
 medal, these pictures were regarded as masterpieces. His 
 "View of the Fields Near Southampton," in 1835, brought 
 him congratulations from the most celebrated painters of the 
 romantic school. Eugene Delacroix never tired of seeing and 
 studying this picture. Dupre was greatly interested in the 
 work of Constable, and assisted Rosseau to become known, 
 even taking a studio and working with him. At the Centenary 
 Exposition in the Champ de Mars, a fine collection of his 
 work was shown, including some of his most famous sea pieces. 
 These were mostly painted during the siege of Paris, when 
 he was shut up in his home at Cayeux-sur-Mer. He was the 
 last painter of the romantic school of landscape, and was 
 primarily a colorist. 
 
 8. "Cows in a Landscape." From the collection of M. 
 Thiebault-Sisson, Paris. 
 
 21 
 
FURINI, FRANCISCO. 
 
 Italian: born Florence, 1604; died Florence, 1649; pupil 
 of his father, Filippo Furini, a portrait painter, and later of 
 Passignano, Bilevelt and Matteo Rosselli; afterwards going 
 to Rome he devoted himself extensively to the study of the 
 works of Guido. In 1644 he was appointed curate at Mugello, 
 near Borgo, San Lorenzo, where he painted some of his best 
 pictures. On his return to Florence he won considerable repu- 
 tation for painting the nude in mellow and tender coloring. 
 He had a preference for imitating the style of Albani and 
 drew with both elegance and accuracy. Furini was particu- 
 larly successful with the delicate forms of women and children, 
 and generally chose his subjects where such figures could be 
 introduced with the happiest effect. Among his works are: 
 ' ' Magdalen in the Desert, ' ' Siena Academy ; ' ' Birth of Cyrus,' ' 
 Metropolitan Museum, New York ; ' ' Creation of Eve, ' ' Palazzo 
 Pitti, Florence. 
 
 9. "Girl With a Vase." 
 
 23 
 
GAINSBOROUGH, THOMAS. 
 
 English : born Sudbury, Suffolk, 1727 ; died London, 1788 ; 
 portrait and landscape painter; son of John Gainsborough, a 
 clothier. In 1741 he was sent to London and placed in the 
 care of a silversmith who introduced him to Gravelot, a French 
 engraver, from whom he learned the art of etching. Gravelot 
 recognized his great ability and obtained for him permission 
 to enter Martin Lane's Academy, where for three years he 
 worked with Francis Hayman, the historical painter. Later 
 he set up for himself in London, but after a short and un- 
 successful struggle as a portrait and landscape painter he 
 returned home, and in 1760 settled in Bath, where he devoted 
 himself chiefly to portraiture. In 1766 he became a member 
 of the Society of Artists and in 1768 was one of the foundation 
 members of the Royal Academy. In 1774 he went again to 
 London and won such a reputation that he was considered 
 the rival of Reynolds in portraiture and of Wilson in landscape 
 painting. Ruskin called him one of the purest colorists of the 
 English school, and his rival. Sir Joshua Reynolds, observed of 
 him: ''Whether he excels in portraits, landscapes or fancy 
 pictiu'es, it is difficult to determine." His portraits are mucli 
 loved and well known. One of his most charming works, and 
 a source of everlasting delight to all artists, is his famous 
 portrait of "Master Buttall" (The Blue Boy), a masterpiece 
 of difficult color handling, in the possession of the Duke of 
 Westminster (Grosvenor House, London). Besides his paint- 
 ings, Gainsborough designed and etched eighteen plates, and 
 also executed three plates in aquatint. His life work consists 
 of more than three hundred paintings, two hundred and twenty 
 of which are portraits. 
 
 10. ''Landscape" (from the Brett collection). An early 
 example of the master's work in landscape. 
 
 25 
 
GURREY, ALFRED R. 
 
 Born in England; came to America about 1870. Studied 
 painting in San Francisco, under the English portrait painter 
 Yates, Later he was greatly influenced by the work of Jules 
 Tavernier, Alfred Rodriquez and Charles Rollo Peters. He 
 came to Hawaii in 1899, and since then has devoted much of 
 his time to painting island scenery. His work usually finds 
 expression in the beauties of sea and coast. 
 
 11. "The Surf," Kauai, Hawaiian Islands. 
 
 27 
 
HITCHCOCK, DAVID HOWARD. 
 
 Born Hilo, Hawaii, 1861; American parents. First studied 
 painting in San Francisco, 1885-86, under Virgil Williams. 
 In 1890 he went to Paris and from 1890 to 1893 studied under 
 Bouguereau and Ferrier. He exhibited in the Paris Salon of 
 1893, and the same year returned to Hawaii. Since then 
 he has made his home in Honolulu, is well-known as a painter 
 of island scenery, and has met with much success. He received 
 a gold medal at the Exposition in Seattle, 1909. 
 
 12. **Koa Forest," Kauai, Hawaiian Islands. 
 
 29 
 
HOFMANN, HEINRICH. 
 
 German: born Darmstadt, 1824; died Dresden, 1902; his 
 torical and portrait painter; pupil of DUsseldorf Academy 
 under Theodor Hildebrandt and Schadow, and later of Ant- 
 werp Academy. After visiting Holland and Paris, he returned 
 to Germany and worked in Munich and Frankfort. In 1854 
 he went to Italy, and spent four years in Rome where he was 
 much influenced by Cornelius. In 1862 he returned to his 
 native land and settled in Dresden; became honorary member 
 of the Academy in 1868 and professor in 1870. Among his 
 well-known works are: "King Enzio in Prison" (1851), Frei 
 burg Gallery; "Taking of Christ" (1858), Darmstadt Museum; 
 "Othello and Desdemona," "St. Cecilia," and "Christ in 
 the Temple," Dresden Gallery; "Sermon on the Lake," 
 National Gallery, Berlin. 
 
 13. "Mary at the Tomb of Christ." 
 
 31 
 
ISRAELS, JOSEF. 
 
 Dutch: born Amsterdam, 1824; died August 12, 1911; 
 pupil of Kruseman, in Amsterdam, and of Pieot in Paris. His 
 genre scenes from Dutch maritime life are superior to his 
 earlier historical pieces ; all of his work is rich in human feel- 
 ing, full of sentiment and a trifle melancholy. He humanizes 
 color; it speaks under his touch — ^the language of those who 
 suffer ; he loves the sombre cabins of the fishermen and of the 
 humble people, and there is always to be found in his work 
 a very lasting and human appeal. 
 
 Awards: third class medal Paris Salon, 1867; Chevalier 
 of the Order of Leopold, 1876; Chevalier of the Legion of 
 Honor, 1876 ; Officier, 1878 ; first class medal Paris Salon, 1878 ; 
 medal at Philadelphia. Among his works are: "William of 
 Orange Defying Decrees of King of Spain"; "Fishing Boats 
 Shipwrecked Off Scheveningen"; "Returning Home From the 
 Field"; "Waiting for the Herring Boats"; "Sick Mother"; 
 "First Sail"; "Madonna in the Hut," in the Amsterdam 
 Museum; and "Frugal Meal," in the Vanderbilt collection, 
 New York. 
 
 14. "A Dutch Interior." Small water-color painting, soft 
 and harmonious in color. 
 
 33 
 
JACQUE, CHARLES EMILE. 
 
 French: born Paris, May 23, 1813; died Paris, May 7, 1894; 
 painter, etcher and engraver; began his art career as an 
 engraver, but later painted animal and landscape pictures with 
 notable success. Few French artists have a more widely ex- 
 tended or better deserved reputation. He was a great lover 
 of animals and of country life, excelled in his most accurate 
 knowledge of sheep and poultry, and has often been called 
 "Le Raphel des Porceaux," from his most truthful rendering 
 in his pictures of pigs. His work obtained much popularity 
 in England, where many of his paintings are to be found in 
 private collections. He is represented in most of the great 
 museums in Europe and America. A very fine example of 
 his work is his "Flock of Sheep in a Landscape," painted in 
 1861, and purchased by the French government for the Luxem- 
 bourg Museum. 
 
 Awards: medal of the third class, Paris Salon, 1861; a 
 rappel in 1863 ; medal in 1864 ; Legion of Honor in 1867 ; gold 
 medal, Universal Exposition of 1889, Paris ; and as an engraver : 
 medal of the third class, 1851 ; rappel in 1861 and 1863 ; medal 
 of the second class in 1867; Grand Prix in 1889. 
 
 15. "Sheep in a Stable." A splendid example of the 
 work of Jacque; the deep, rich color produces a golden light 
 which gives great richness and quality of tone. This picture 
 is from the collection of Robert Davis, President of the Banli 
 of Africa, England, and was purchased in France by F. 
 Montaigne. 
 
 35 
 
JORDAENS, JAKOB. 
 
 Flemish: born Antwerp, 1593; died Antwerp, 1678; pupil 
 of Adam van Noort, whose daughter he married. Instead of 
 going to Italy he contented himself with the study of the works 
 of the Italian masters available in Flanders, such as Titian 
 and Paolo Veronese. His ability attracted Reubens and ho 
 commissioned Jordaens to assist him in preparing cartoons 
 for the tapestries of the King of Spain. In 1638 he painted 
 for the same monarch the fine "Landscape With the Story of 
 Vertumnus and Pomona." This picture, with "Pythagoras" 
 by Reubens, was taken away by Joseph Bonaparte on his ab- 
 dication of the throne of Spain. Among ttie patrons of Jordaens 
 were the King of Sweden and the Princiess Amelia of Orange, 
 for whom he painted his chef-d'oeuvre, "The Triumph of 
 Prince Frederick Henry of Nassau." In 1671 he and his 
 youngest daughter became followers of Calvin, and he held 
 subjects, animals and scenes of revelry, than of sacred and 
 His gifts were better adapted to the representation of fabulous 
 subjects, animals and scenes of revelry, than of sacred and 
 historical pictures. His works are numerous and are to be 
 found in most of the great museums in Europe and in many 
 public buildings throughout Belgium. Jordaens also executed 
 a few spirited etchings, which, though done in a hasty manner 
 show the work of a master. 
 
 16. "Pan, Midas and Apollo" (from the Brett collection). 
 A forest scene painted on copper. 
 
 37 
 
KEITH, WILLIAM. 
 
 Born Aberdeen, Scotland, 1839; died Berkeley, California, 
 1911. Came to America when a young man and began his 
 artistic career in New York as an engraver; in 1859 moved 
 to California and devoted himself to landscape painting. In 
 1869 Keith went to Europe to study, and spent some time in 
 Diisseldorf ; later he went to Spain and Paris ; pupil of Achen- 
 bach and Carl Marr. While best known as a landscape painter, 
 he also produced many successful portraits; was friend and 
 contemporary of George Innes, by whose work he was un- 
 doubtedly somewhat influenced. Aside from his art the per- 
 sonality of Keith was most charming and delightful, and won 
 for him many lifelong friends; and much of his work reflects 
 the same spirit which so endeared him to all who knew him. 
 He delighted in strong, rich color and in the dramatic aspects 
 of nature; his paintings are toneful, poetical, sometimes 
 decorative, and deal with the emotions aroused and suggested 
 by landscape under certain conditions of light and atmosphere. 
 His paintings are included in the permanent collections of 
 the Chicago Institute; the Brooklyn Institute; the Corcoran 
 Gallery; the Art Museum, Portland, Oregon; the National 
 Gallery of Art, Washington, D. C, and in many private 
 collections. 
 
 17. "Landscape." 
 
 18. "Springtime," an example of the best period of 
 Keith's work. 
 
 39 
 
LOMBARD, LAMBERT. 
 
 Flemish: born Liege, Belgium, 1505; died Liege, 1566; 
 painter, archaeologist and poet ; pupil of Arnold de Beer, John 
 de Meuse and Gbssart. He went to Italy with Cardinal Pole 
 in 1538, and there further studied with Andrea del Sarto 
 In 1528 he was appointed official painter to Cardinal Erard 
 de la Marck, prince bishop of Liege. Among his works, now 
 very rare, are: "Descent from the Cross," National Gallery, 
 London; "Martyrdom of St. Barbara," St. Bartholomew's, 
 Liege; "Vision," Royal Collection, the Hague; "Last Supper" 
 (1531), Brussels Museum, and the "Adoration of the Shep- 
 herds," Vienna Museum. Besides his paintings Lombard 
 executed a number of unique drawings for painters, glass 
 painters, sculptors and goldsmiths. About thirty of his com- 
 positions have been engraved and many of his drawings, which 
 are generally signed and dated, have been preserved. He 
 was also an architect; the north porch of the Church of St 
 James and a house in the Haute Sauveniere, at Liege, are said 
 to have been built from his designs. 
 
 19. "Lord's Supper." Painted in 1528 (from the Brett 
 collection), and very similar to a painting in the Brussels 
 Museum by Lombard, of a date three years later. 
 
 41 
 
LUINI, BERNAEDINO. 
 
 Italian: born Luino, Italy, about 1467; died 1533. He 
 was of the Lombard-Milanese school; pupil of Stefano Scotto 
 Civerchio, and in the middle of his career became a follower 
 of Leonardo de Vinci, whose manner he so closely imitated 
 that several of his best works have for a long time been at- 
 tributed to Leonardo. Many of his faces wear the Leonard- 
 esque smile, though it has not the same depth of meaning; 
 and his manner of painting while very similar to that of 
 Leonardo, never quite reaches that almost superhuman degree 
 of finish which distinguishes the Gioconda among pictures. 
 Luini worked in the churches of Milano and the neighboring 
 towns. Milano, Saronna and Lugano still possess his best 
 pictures, which for sweetness and depth of feeling are un- 
 rivalled. Among his best known works are: the frescos in 
 the Monastero Maggiore of Milano; "The Passion" (fresco) 
 in Lugano; "St. Catherine," in the Munich Gallery; "Holy 
 Family" and "Adoration of the Magi," in the Louvre; and 
 the "Daughter of Herodias," in the Vienna Gallery. 
 
 20. "The Holy Family" (from the Brett collection). A 
 very beautiful example of the work of Luini. 
 
 43 
 
MAC EWEN, WALTER. 
 
 American: born Chicago, Illinois, 1860; painter, illustrator 
 and mural-decorator; studied in Munich and later in Paris; 
 pupil of Corman and Robert-Fluery, Paris; was one of the 
 first American artists to win recognition in Europe. His 
 work is full of exquisite harmony and charm, and he is especi- 
 ally successful with his subjects drawn from the private life 
 of the Dutch bourgeoisie. His mural decorations in the Library 
 of Congress are a series illustrating the stories of Greek heroes. 
 
 Awards: honorable mention, Paris Salon, 1886; silver 
 medal, Paris Expcfsition, 1889; silver medal, London, 1890; 
 gold medal, from the City of Berlin, 1891; medal, Columbian 
 Exposition, Chicago, 1893; medal of honor, Antwerp, 1894; 
 Chevalier of Legion of Honor of France, 1896; second class 
 gold medal, Munich, 1897; silver medal, Paris Exposition, 
 1900; first class gold medal, Munich, 1901; first class medal. 
 Vienna, 1902; Lippencott Prize, Philadelphia, 1902; Harris 
 Prize, A. L C, 1902; gold medal, St. Louis, 1904; first class 
 gold medal, Liege, Belgium, 1905; Officier, 1908; Chevalier 
 of Order of St, Michel, Bavaria, 1909; Officier, Order of 
 Leopold II, Belgium, 1909. 
 
 Member of: International Jury of Awards, San Francisco, 
 P. P. I. E., 1915; National Institute of Arts and Letters; 
 Associate of National Academy of Design ; First Vice-President 
 of Paris Society of American Painters. 
 
 21. "Waiting." A characteristic example of the artist's 
 work, representing a typical Dutch interior with a young girl 
 waiting and watching by the window. The coloring is full 
 of harmony and tenderness. 
 
 45 
 
MOLENAER, JAN MIENSE. 
 
 Dutch: born Haarlem early in the 17th century; died 
 Haarlem, 1668; imitator if not a pupil of Franz Hals and 
 later was much influenced by the study of Rembrandt. His 
 genre pictures representing peasant life are rich and warm 
 in color, full of animation and humor, but seldom coarse. 
 Many of his country scenes are painted in the style of Steen 
 and Brauwer. Some of his best known and accessible pictures 
 are: "Peasant Musicians," Amsterdam Museum; "The In- 
 terior of an Inn," Berlin Museum; "The Jealous Wife," 
 Copenhagen Museum; "Peasant and Fiddler," Dresden Gal- 
 lery; "Peasants Carousing," Leipsic Museum; "Peasant 
 Woman and Boy," Buckingham Palace, London; "Dutch 
 Interior," Brussels Museum; "Village Festival," Hague 
 Museum. 
 
 22. "Exterior of an Inn." Bought from an old English 
 rectory in 1879. 
 
 47 
 
MURILLO, BARTOLOME ESTEBAN. 
 
 Spanish: born Seville, January 1, 1618; died Seville, 1682, 
 as a result of a fall from the scaffold while painting his last 
 work, "The Marriage of St. Catherine," at Cadiz. His first 
 master was Juan del Castillo, a relative, who taught him the 
 elementary details of an artist's education. In 1640 Castillo 
 left Seville, and Murillo, then twenty-two years of age, from 
 that time on supported himself with his brush. By 1643 he 
 had earned enough to enable him to go to Madrid, where he 
 introduced himself to Velasquez, then in the zenith of his 
 fame. The great master not only admitted Murillo to his 
 studio but treated him with great kindness, procuring for 
 him access to the Royal collection, and giving him daily 
 instruction. After three years' study Murillo returned to 
 Seville in 1646, and there undertook, for a very small sum. 
 his first great work — a series of eleven pictures for the Fran- 
 ciscan Convent within the walls of Seville. From 1674 to 
 1680 he was again employed by his friends the Franciscans 
 to decorate the Capuchin Convent outside Seville. It is claimed 
 that he remained for three years entirely within its walls 
 and executed over twenty important works, seventeen of which 
 are now in the Seville Museum. The most celebrated of these 
 is that of ''St. Thomas of Villanueva Distributing Alms." 
 Among other beautiful works by Murillo are: "Virgin and 
 Infant Christ," Palazzo Pitti; "Virgin and Infant Jesus," 
 the Hague Gallery (from a monastery at Ypres) ; "Madonna 
 and Child," Dresden Gallery; "St. Anthony of Padua With 
 the Infant Jesus," Berlin Museum; "The Annunciation," 
 Amsterdam Gallery. 
 
 23. "St. Luke Painting the Virgin" (from the Standish 
 Hall collection). 
 
 49 
 
PRUD'HON, PIERRE. 
 
 French: born Cluny, 1758; died Paris, 1823; portrait and 
 historical painter. Owing to the early death of his father, a 
 stone-mason, his education was entrusted to the monks of the 
 Abbey of Cluny. The pictures decorating the walls of the 
 monastery early developed his taste for art, and utterly un- 
 aided he taiight himself the elements of oil painting. When 
 sixteen years old the Bishop of Macon placed him in the 
 Academy of Dijon, where he made great progress; but at 
 nineteen he contracted a most unfortunate marriage which 
 seriously interfered with his plans for work. In 1780 he 
 worked in Paris with an engraver named Wille, and later in 
 Rome he studied closely the masterpieces of Raphael, Correg- 
 gio and da Vinci. In 1789 he returned to Paris, where un- 
 known to fame he struggled for many years to provide for 
 his family, even accepting orders for commercial work. In 
 1794 he went to Franche Conte where he spent two years 
 painting portraits. After his return to Paris his reputation 
 gradually increased and his position in the art world was 
 at last assured, when just before the close of the century he 
 was assigned apartments in the Louvre to execute ''Truth 
 Descending from Heaven." His unhappy marriage was broken 
 off and he spent his last score of years with Constance Mayer, 
 a student whom he met in 1803, when she was seeking for a 
 master to replace Greuze. Though the recognition of Prud'hon 
 was a tardy one, it brought him many honors in quick suc- 
 cession. Among these were the commission for the ceiling 
 in the Louvre, ' ' Diana Imploring Jupiter " ; and the well- 
 known "Divine Justice Pursuing Crime," originally for the 
 Palais de Justice, and for which, in 1808, he received the 
 Legion of Honor, and in 1816 was elected a member of the 
 Institute. Prud'hon forms an interesting figure in the history 
 of French art, and his works have a grace and tenderness 
 which he ascribes to his faithful study of Leonardo. He died 
 
 51 
 
in 1823, never having fuljy recovered from the shock of the 
 suicide of Mademoiselle Mayer, in 1821, 
 
 24. "Portrait of Mademoiselle Mayer." A small though 
 characteristic example of Prud'hon's w^ork, painted in 1821 
 after the death of Mademoiselle Mayer, from memory and 
 existing sketches. This picture was next to the last work by 
 Prud'hon, the last being his famous ** Crucifixion, " now in 
 the Louvre. 
 
 53 
 
REDFIELD, EDWARD WILLIS. 
 
 American: born Bridgeville, Delaware, December 19, 1868; 
 landscape painter; pupil of Pennsylvania Academy of Fine 
 Arts, and later of Bouguereau and Robert-Fluery in Paris. 
 In his manner and method of painting, his work is a reflection 
 of the impressionists, modified and adapted to his own use. 
 He has been called "a painter of winter-locked nature"; and 
 by many is considered at his best when portraying winter 
 scenes. His "February" was acquired by the French govern- 
 ment for the Luxembourg Museum, and is a fine example 
 of his work. 
 
 Awards : bronze medal Paris Exposition, 1900 ; bronze medal 
 Buffalo Exposition, 1901 ; Temple gold medal Pennsylvania 
 Academy of Fine Arts, 1903 ; second Hallgarten Prize, National 
 Academy of Design, 1904 ; Shaw Fund Prize, Society of Ameri- 
 can Artists, 1904; silver medal St. Louis Exposition, 1904; 
 Jenny Sesnan gold medal Pennsylvania Academy of Fine Arts, 
 1905 ; second medal Carnegie Institute, Pittsburg, 1905 ; Webb 
 Prize, Society American Artists, 1905 ; Fischer Prize and Cor- 
 coran bronze medal, Corcoran Gallery, 1907; gold medal of 
 honor, Pennsylvania Academy of Fine Arts, 1907 ; first Clark 
 Prize and Corcoran gold medal, Corcoran Gallery, 1908; hon- 
 orable mention, Paris Salon, 1908; third medal, Paris Salon, 
 1909 ; second Harris medal, Art Institute, Chicago, 1909 ; gold 
 
 1' :m ;] 
 
 -n 
 
REMBRANDT, HARMENSZ VAN RYN. 
 
 Dutch: born Ley den, 1606; died Amsterdam, 1662; son of 
 Harmen Gerritsz, a miller, and of Neeltgen, daughter of Wil- 
 lems van Snyddtbroek, a baker. The parents of Rembrandt 
 were well off, and desiring him to have a good education, 
 entered him in 1620 as a student of the Faculty of Letters at 
 the Leyden University; but having little taste for books Rem- 
 brandt soon convinced his father that his love for art must be 
 allowed to develop, and he was placed in the studio of Jacob 
 van Swanenburch, a painter of mediocre ability. After three 
 years' work Rembrandt gave such promise of future excel- 
 lence that he was sent to the studio of Pieter Lastman at Am- 
 sterdam. But Lastman had visited Rome and acquired a man- 
 ner which to the Dutch school seemed artificial, and with 
 which Rembrandt, an earnest seeker after truth in nature, could 
 have no sympathy. So he returned to Leyden and set himself 
 to study and practice painting alone and in his own way. His 
 earliest known picture, "St. Paul in Prison," is dated three 
 years later (1627), and is in Stuttgardt. In 1631 he moved 
 to Amsterdam, where he remained the rest of his life. There, 
 in 1632, he painted his first corporation picture, the famous 
 * ' Lesson in Anatomy. ' ' In 1634 he married Saskia van Uylen- 
 borch, and eight years later Saskia died, only one of her 
 children, Titus, a son, surviving her. With the death of Saskia 
 and the failure of "The Night Watch" to satisfy its subscrib- 
 ers, the popularity of Rembrandt began to wane ; his financial 
 affairs became involved and his last years were spent in com 
 parative poverty. Some years later he married Henrietta 
 Stoffels, his servant, but was again left alone as Henrietta 
 died in 1662. He was a most prolific worker, and is generally 
 considered by critics to have been both the greatest painter 
 and etcher of all time. His place in the history of art is 
 unique; no one has ever rivalled him in the management of 
 light and shade; and but few in color, in character or in the 
 expression of deep sentiment. He excelled in everything he 
 
 57 
 
seriously attempted, and taking up the art of etching, which 
 before his time was humble and insignificant, he set it on a 
 pedestal around which artists have been crowding in hopeless 
 emulation ever since. Technically his etchings are still un- 
 approached, while in vigorous dramatic expression no one 
 has yet surpassed him. 
 
 26. ''Head of a Man" (from the Standish Hall collection), 
 and attributed to Rembrandt. If not entirely by the master 
 himself, it was the work of his school. 
 
 59 
 
KENI, GUIDO (commonly called "GUIDO"). 
 
 Italian : bom Calvenzano, near Bologna, 1575 ; died Bologna, 
 1642. His father was a musician and failing to persuade his 
 son to follow in his own profession, placed him at the age of 
 ten with Denis Calvaert, an Antwerp painter then living in 
 Bologna, and nine years after, in the rival studio of the Car- 
 racci. Guido also studied fresco painting with Ferrantini. To 
 this period belong some interesting early frescos and two paint- 
 ings, "The Massacre of the Innocents" and **The Coronation 
 of the Virgin." About 1600 Guido accompanied Annibale 
 Carracci to Rome, to help in the decoration of the Farnese 
 Palace. When in Rome he came under the influence of Car- 
 avaggio ; also studied the works of Raphael, and subsequently 
 painted what is usually considered his finest piece, "Aurora 
 Preceding the Chariot of Apollo, '' on the ceiling of the garden 
 chapel of the Palazzo Rospigliosi. He executed many commis 
 sions for churches, monasteries and palaces: notable among 
 these is "The Crucifixion of St. Peter," now in the Vatican; 
 and "St. Michael," in the Capucini Church. He visited about 
 and painted in many cities in Italy, and in 1621 spent some 
 considerable time in Naples, but like many other great artists 
 was driven away by the jealousy of the Neapolitans, leaving 
 unfinished what many consider his probable masterpiece, a 
 "Nativity," in S. Martino. 
 
 Soon after this the style of Guido 's painting changed, 
 and giving up the pronounced energetic style of his youth, 
 he adopted what is usually described as his third method, 
 showing a preference for more neutral tints and extreme 
 facility of handling and rapid execution; while gradually 
 the tragic representation of voluptuous and passionate emo- 
 tion gained upon him, and in his later years at Bologna, 
 he created many " Cleopatras, " "Lucretias" and "Magdalens." 
 His last works were forced and hurried, for it is said that his 
 financial difficulties, growing out of his love of gambling, were 
 so great that one of his creditors sat over him, watch in hand 
 
 61 
 
while he executed work for him by the hour. He died in 
 Bologna, beset by fears, troubles and debts. 
 
 At his best, the work of Guido is admirable, fine in color 
 and dramatic force, and bold and free in execution. His 
 pictures are difficult to identify, yet a few marked traits may 
 guide the expert observer — ^the large eyes, rather close nostrils, 
 small mouth, and manner of drawing the hands and feet. Guido 
 produced also several fine engraved plates, signed with his 
 monogram. His pictures are to be found in most of the well- 
 known galleries of Europe, and in many churches and palaces 
 in Italy. 
 
 27. "Penitent Magdalen." This interesting work of Guido 
 was found near Arco, Lago di Carda, Austria, by Mr. Harald 
 Mohr-Arlien, of Copenhagen, Denmark. 
 
 63 
 
REYNOLDS, SIR JOSHUA. 
 
 English: born Plympton, Devonshire, 1723; died London. 
 1792; the greatest of all English portrait painters; son of the 
 Reverend Samuel Reynolds and Theophila, daughter of Mat- 
 thew Potter, one of the Potters of Iddesleigh, Devonshire. 
 Both parents were distinguished for their learning. The artist 
 was intended to study medicine but his love of art early 
 asserted itself and he was sent to London in 1740 and placed 
 under Thomas Hudson, the best known portrait painter of his 
 time. After two years' study he returned home and painted 
 many portraits at a very low price ; among these was a series 
 of portraits for the Kendall family, for which he received about 
 three pounds each. In 1746 he began painting in London, and 
 in 1749 went to Rome and while working in the Sistine Chapel 
 caught a cold, which made him deaf for the rest of his life. 
 In 1753 he settled in London and painted the portrait of Com- 
 modore Keppel (collection of Lord Albermarle), and laid the 
 foundation of both his great reputation and fortune. In 1768, 
 when the Royal Academy was established, he was chosen its 
 first president, and was knighted by George III. After the 
 death of Allan Ramsay (1784), he became principal painter 
 to the King. He exhibited in all two hundred and forty-five 
 works at the Royal Academy, his contributions averaging 
 eleven annually. Reynolds painted many historical and fancy 
 subjects, but it is as a portrait painter that he excelled all 
 his contemporaries. Ruskin considered him one of the seven 
 colorists of the world, placing him with Titian, Giorgione, 
 Correggio, Tintoretto, Veronese and Turner. Many of his best 
 works are in the National Gallery, London. He died un- 
 married and was buried in St. Paul's Cathedral, near Sir 
 Christopher Wren. 
 
 28. "The Lady With the Mask" (from the collection of 
 Mr. A. Ramsden, London). This painting is mentioned in the 
 book on Reynolds, by Sir "Walter Armstrong, and is a portrait 
 of Miss Elizabeth Young, afterwards Mrs. Pope, a well-known 
 
 65 
 
actress of the period. The head and bust are beautifully 
 painted, but the hands are badly done, being probably the 
 work of students. 
 
 29. "Head of Puck" (from the Brett collection). This 
 is one of a series of Shakespeare illustrations made by Reynolds 
 
 67 
 
RODRIQUEZ de MIRANDA, NICOLAS. 
 
 Spanish : bom 1700 ; died Madrid, 1750 ; brother of the more 
 famous artist Pedro Rodriquez de Miranda. Though a painter 
 of portraits and of religious subjects, Nicolas Rodriquez is 
 more distinguished for his landscape paintings. But little is 
 known of the details of his life. Two very interesting examples 
 of his work and of the old Spanish school are shown in these 
 two paintings. 
 
 30. **Our Saviour." Acquired from the Standish Hall 
 collection, 1880. 
 
 31. "The Virgin." Acquired from the Standish Hall 
 collection, 1880. 
 
 69 
 
SCHREYER, ADOLPH. 
 
 German : born Frankf ort-on-the-Main, 1828 ; died Cronberg, 
 1899 ; pupil of the Staedel Institute at Frankfort ; later studied 
 in Stiittgardt, Munich and Diisseldorf. He went through the 
 Crimean War as a war artist, and finally settled in Paris in 
 1862, but returned to Germany when the outbreak of the 
 Franco-Prussian War necessitated his departure from France. 
 He won distinction as a painter of battle scenes and horses; 
 he was an untiring student and studied horses in the riding 
 schools, at work, and in his travels with Prince Thurn through 
 Hungary, Wallachia and southern Russia ; and while he accom- 
 panied the Austrians on the march through the Danubiau 
 principalities in 1854, and during his visit to Syria, Egypt and 
 Algiers. His life in the last named countries is reflected in 
 much of his work. 
 
 Awards : appointed court painter to Grand Duke of Meck- 
 lenburg, 1862 ; medal Brussels, 1863 ; medal Paris Salon, 1864, 
 1865, 1867; Order of Leopold, 1866; medal Munich, 1876. 
 
 Many of his works are owned in the museums of Europe 
 and America, and in a number of private collections. 
 
 32. "Arab Horses and Landscape." 
 
 71 
 
ST. or T. S. 
 
 The name of this painter is unknown, but the two pictures 
 by him reflect very creditably the school and work of the 
 period. The paintings are companion pieces, rich in color and 
 well executed. 
 
 33. ** Still Life." Showing monogram and dated 1690. 
 
 34. "Still Life." Showing monogram and dated 1690. 
 
 73 
 
TENIERS, DAVID (The Younger). 
 
 Flemish: born Antwerp, 1610; died Perck, near Brussels, 
 1694; pupil of his father, David Teniers, the elder, and of 
 Rubens and Brouwer. He was a painter of genre, landscape 
 and portraits; was made Master of Antwerp Guild in 1632, 
 its Dean in 1644, and the same year was appointed court painter 
 to Archduke Leopold Wilhelm, Governor of the Netherlands 
 Between 1648 and 1652 he settled in Brussels ; was prime mover 
 in the foundation of the Antwerp Academy in 1663, and in 
 1679 was received into the Guild at Brussels. He received 
 important commissions from Philip IV of Spain, and from 
 the royal houses of Sweden and England. Among the genre 
 painters of Flanders he holds first place, and is renowned for 
 his picturesque arrangement, exquisite harmony of coloring in 
 all details, and the light and sparkling touch which character- 
 izes all his pictures. 
 
 Besides his paintings he produced a great number of en 
 gravings. In 1660 he published in Brussels a work containing 
 two hundred engravings of pictures of the Italian and Flemish 
 schools in the Archduke's gallery and executed from small 
 copies made by himself from the originals. Of these copies 
 one hundred and twenty were sold in the Blenheim Palace 
 sale (1886) for two thousand and two pounds and ten shillings 
 His works are too numerous to chronicle and are to be found 
 in most of the great museums of the world. Three of those 
 which represent him in the Louvre are: "The Temptation 
 of St. Anthony," "St. Peter's Denial" and "The Seven Works 
 of Mercy." 
 
 35. "Kitchen Scene" (from the Brett collection). An 
 interesting example of the work of Teniers. 
 
 75 
 
TROUILLEBERT, PAUL DESIBE. 
 
 French : bom Paris, 1829 ; died Paris, 1900; pupil of Herbert 
 and Jalabert, but not of Corot as is often stated. He waa 
 primarily a painter of genre and portraits but later developed 
 landscape with great success. In the Dumas collection a pic- 
 ture by Trouillebert had the distinction of being mistaken for 
 a Corot, an error which formed the subject of a famous lawsuit 
 This canvas signed "Corot" by a forger and sold to the elder 
 Dumas was discovered and denounced by Trouillebert. Dumas 
 brought suit against the dealer who had sold him the painting 
 and won his suit. Later he commissioned Trouillebert to paint 
 him another picture, and from semi-obscurity, Trouillebert 
 suddenly became famous; he was accused by the critics of 
 copying and imitating Corot, but to the very last he insisted 
 that if he painted Corots he was unaware of it, and that all 
 he desired from the world was to be allowed to work in peace 
 and to paint nature as he saw it in his own way. His was an 
 unassuming and quiet personality, and deplored the notoriety 
 which was suddenly forced upon him. 
 
 36. "Landscape." Beautiful and harmonious in color and 
 full of poetry. 
 
 77 
 
UNKNOWN ARTIST. 
 
 37. "Landscape.'' A good example of the English or 
 Scotch school of the period of a hundred or hundred and 
 fifty years ago. 
 
 79 
 
VERONESE, BONIFACIO (The Younger). 
 
 Italian: bom Verona, 1490; died Venice, 1553. He was a 
 near relation, possibly a brother, of Bonifacio Veronese, the 
 elder, the most important member of the Veronese family and 
 whose art he closely imitated. Bonifacio, the younger, was 
 a pupil of Palma Vecchio, as was the elder. Three artists from 
 Verona bore the name of Bonifacio, and their work is much 
 confused, as they worked together and developed a similar 
 style of painting. Among the important works of Bonifacio, 
 the younger, are: "Supper at Emmanus, Brera," Milan Gal- 
 lery; ** Christ and the Apostles," Venice Academy; "Christ in 
 the Temple, ' ' Palazzo Pitti ; * ' Prodigal Son, ' ' Borghese Gallery ; 
 Rome, and "Virgin and Child with Saints," Dresden Gallery. 
 
 38. "Sacra Conversazione." Upon the authority of Dr. 
 Frimmel, art critic and director of the Gallery in Vienna, there 
 is but little doubt that this picture was done by Veronese, the 
 younger. If not painted entirely by the master, it was the 
 work of Antonio Palma, a relative of the old Palma Vecchio, 
 and a co-worker and pupil of Veronese. The painting is on 
 wood ; is rich and fine in color, and is a good example of the 
 school of Veronese. 
 
 81 
 
WALDEN, LIONEL. 
 
 American : born Norwich, Connecticut ; left America in 1885 
 and went to Paris; pupil of Carolus Durand; especially well 
 known as a marine painter. One of his works, "Les Docks 
 de Cardiff," was purchased by the French government for 
 the Luxembourg Museum. 
 
 Awards: honorable mention Versailles, 1888; second class 
 medal Crystal Palace, London, 1894; honorable mention Paris 
 Salon, 1899; gold medal of the third class Paris Salon, 1903; 
 silver medal St. Louis Exposition, 1904 ; commemorative medal 
 St. Louis, 1904 ; Knight of the Legion of Honor of France, 1910 ; 
 silver medal San Francisco, Panama-Pacific International Ex- 
 position, 1915. 
 
 Represented in : The Musee de Luxembourg, Paris ; Cardiff 
 Museum, Wales; Memorial Museum, Philadelphia. 
 
 Member of: The Paris Society of American Painters; 
 National Institute of Arts and Letters; Societe International 
 de Peinture et Sculpture; Society de Peinture de Marine, Paris 
 
 39. * * Mediterranean Fishermen. ' ' A splendid and spirited 
 example of this artist 's work, always remarkable for life and 
 movement, rich color and fine composition ; all these qualities 
 are found in this painting of the fishermen at Capri, It is 
 executed with a full flowing brush and much luminosity. 
 
 40. "The Beach," Koolaupoko, Oahu, Hawaiian Islands. 
 
 41. "The Volcano, Kilauea," May, 1916. 
 
 83 
 
WHISTLER, JAMES ABOTT McNEILL. 
 
 American : born Lowell, Massachusetts, 1834 ; died London, 
 1903 ; son of Major George Whistler, who came from the Irish 
 branch of an old English family, and of Anne Matilda McNeill, 
 of Wilmington, North Carolina. Much of Whistler's youth was 
 spent in St. Petersburg, as his father was appointed consulting 
 engineer of the Moscow and St. Petersburg railroad. After 
 the death of his father, in 1849, Whistler returned with his 
 mother to America, and two years later entered the West Point 
 Academy. But he was unfitted to undergo the study and 
 discipline necessary for a military career, and in 1854 was 
 discharged for failure in chemistry. He had, however, already 
 distinguished himself in drawing and easily obtained the ap- 
 pointment of draughtsman in the Coast Survey Department 
 at Washington. It was here that he made his first etching, 
 a view of the contour of a coast, taken from the sea. But 
 finding routine work unbearable, in 1855 he gave himself up 
 definitely to art and proceeded to England and then to Paris. 
 He studied first in the school of Gleyre, but was considerably 
 influenced by such men as Degas, Legros, Bracquemond, and 
 especially Fantin-Latour. His first published work was the 
 French set of etchings. In 1859 his first painting, "At the 
 Piano, ' ' was sent to the Salon ; it was refused but the following 
 year was hung in the Royal Academy. "The White Girl,'" 
 sent to the Salon in 1863. was also refused, and in that year 
 Whistler left Paris and took up his residence definitely in 
 Chelsea. "The Thames in Ice" was exhibited at the Academy 
 in 1862, and "Old Battersea Bridge," in 1865. About this time 
 he had begun to collect oriental porcelain and the influence of 
 Japanese art is to be seen in his pictures between 1864 
 and 1870. 
 
 The portrait of his mother (afterwards bought by the 
 French government for the Luxembourg Museum), the por 
 trait of Thomas Carlyle and "Miss Alexander" constitute, per 
 haps, his greatest achievements in painting. Both in aim and 
 
 85 
 
execution they are unlike any contemporary work. In 1877, 
 when Grosvenor Gallery was started, Whistler sent to the first 
 exhibition seven pictures — ^the Carlyle portrait, that of Irving 
 and a group of nocturnes; and further "shocked and irritated 
 his critics by the names he gave them, such as: "Notes," 
 "Harmonies," "Arrangements" and "Symphonies," in this or 
 that color, as a protest against the literal painting of the day, 
 insisting that art alone should appeal to the artistic senses and 
 the subject-matter be ignored. 
 
 In 1871 he published the Thames series of etchings, and 
 from 1879-80 made the famous Venetian set, and also a few 
 pastel sketches, as preparatory studies for his oil paintings. 
 In 1881 fifty-three pastel sketches were shown at the Fine Arts 
 Society Gallery, showing a use of the material, as beautiful 
 as it was new and original. "Whistler also made many litho- 
 graphs, raising the art of lithography from a commercial basis 
 to a fine art by his exquisite handling. In 1884 he became a 
 member of the Royal Society British Artists, and President 
 in 1886; but was compelled to resign in 1888, his methods 
 being too radical and independent. His work was signed 
 sometimes with his name and sometimes with the butterfly 
 signature evolved from his monogram, and which he adopted 
 in the sixties. His last years were spent at Chelsea, and he 
 lived to see the recognition of his genius. 
 
 42. "Lady Archibald Campbell." This unique little pic- 
 ture came from the collection of Mrs. Rose Caldwell Hughes, 
 New York. 
 
 87 
 
NOTES 
 
 89 
 
NOTES 
 
 91 
 
NOTES 
 
 93 
 
NOTES 
 
 95 
 
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