INDEX

A, B, C, D, E, F, G, H, I, J, K, L, M, N, P, R, S, T, V, W, Y.

Ajaccio, 281 Albany, 33 Allen, Sir William, 35 America, attitude towards, 52-53; desire to visit, 22; trip to South America, 22-23 American appreciation, 15-17; art, future of, 63-64; characteristics, 64-65 Americanism, Whistler’s, 47-48 Ancestors, 25-28 Anecdotes and sayings, as a teacher, 277-281; attitude towards America, 52-53; authenticity of stories, 81-82; bailiff in the “White House,” 112-113; Balaam’s ass, 84-85; blue-and-white china, 70; Boer war, 45; Carlyle portrait, 123; colors and pigments used, 72-73; concerning a sitter, 238-239; concerning birth, 29; concerning Carlyle and Miss Alexander, 121; concerning Chicago, 27; concerning each portrait, 241-242; concerning his portraits, 255; concerning poor lawyers, 148; concerning purchasers, 265-266; concerning sittings required, 30-31; continually polishing, 84-85; Dieppe, 34; disintegration of the Royal Society of British Artists, 218; early days in Paris, 86-88; early days in Venice, 92-95; effacing an insult, 43; falling down stairs, 114; first money earned with brush, 80-81; Henry James, 85; his umbrella, 227; Hogarth, 55; house-painters, 212; late to dinner, 29-30; Leighton, 82-84; in lithography suit, 103; man whose coat did not fit, 42; “Nana,” 151-153; Napoleon and I, 281; Nature looking up, 214; necktie of a sitter, 191; no artistic period, 73-78; old Delft, 71; painting in the dark, 214; “Peacock Room,” 129; of Peter the Great, 35; railway accident, 33-34; rebuking an admirer, 162; rich man’s house, 56; Rossetti, 111; Royal Academy, 116-119; Savoy Hotel, 181; school, 61; selling his pictures, 274-275; Stoeckl dinner, 40-41; story of “The Yellow Buskin,” 119-120; studio on ground floor, 229; the arrangement in gray, 194; the color of a critic’s clothes, 195; the grocer’s shop, 193-194; the millionaire, 276; the model and the red background, 280; the pupil who smoked, 279; the republic and Whistler, 281; the Ruskin trial, 144-147; the studio stove, 231; to the Prince of Wales, 217; trip to Valparaiso, 22-23; unwelcome callers at studio, 228; visit of students to his studio, 134-135; “warm personal enemy,” 156; West Point, 36; while in service of Coast and Geodetic Survey, 37-41 Angelo, Michael, 253 Appearance and characteristics, 36; alertness, 85; a poser, 149-155; approachable, except in studio, 227-228; as a story-teller, 224; at home, 222; attitude towards art and artists, 122; attitude towards nature, 213-216; attitude towards other artists, 56; attitude towards purchasers, 265-272; attitude towards the Royal Academy, 115-119; careless about keeping list of works, 90; courage, 42-43; dilatory habits, 37-41; dress when a young man, 41-42; George Moore’s theory, 168-172; his Americanism, 47-78; his dislikes and prejudices, 271-272; laugh, 119; military spirit, 45-46; no commercial instinct, 111; no mystery about his art, 106-108; on the street, 226; Puritan element, 49-50; refinement, 50; sense of humor, 82; superstitions, 44; susceptibility to color intervals, 191-195; West Point, 44; when twenty, 38-40 Art, abstract use of color, 211; and physique, 168-172; early love for, 35; harmonies in line, 182; his paintings and poetry, 182; of pure line, 180-181; Oriental, 176; purely sensuous, 180 Artistic period, 73-78 Autograph character of work, 105-106 Balcony,” “The, 58 Baptism, 32 Baronet vs. The Butterfly, 266-270 Beauties of form and color, 185-186 Beethoven, 257; relation to, 176 Birth, 28-29, 31-32 Boston, proposed exhibition of pictures, 20 Bouguereau, 277 Boxall, Sir William, 53-54 Brothers and sisters, 32 Burne-Jones, 176; Ruskin trial, 146 Carlyle, 119; and Froude, 122-123; as a friend, 121-122 Catalogues, 167-168, 265; of exhibition in 1892, 160-161; of lithographs, 104. See Exhibitions Character. See Appearance and characteristics Chelsea, Carlyle as neighbor and sitter, 121-122; Carlyle’s description, 109-111; death and last illness, 285-286; early days in, 109; his last home, 281-286; the bailiff, 112-113; “White House,” 112-113; “White House” occupied by a critic, 114 Chicago, grandfather founded, 26-27 Chinese and Japanese art, 181; autograph character of Japanese art, 105-106; blue china, 61; degradation of Japanese art, 78; influence of, 55 Chiswick, buried at, 286 Coast and Geodetic Survey, 39-40 Color, “ability to feel,” 208; abstract composition, 197; and the musical scale, 195-196; art of pure color, 180-181; beauties of, 185-186; decoration, 128-135; first color harmonies, 58; his own explanation of, 178-180; illustrated in different pictures, 211; in Italy and Greece, 198; of sculptor, 206; range of color-notes, 189-191; Ruskin’s attitude towards, 158-160, 199-208; Ruskin trial, 145-146; sense of, lost, 183-184; supreme as a colorist, 173; the house-painter and decorator, 186; used imitatively, 204, 207, 209; Whistler’s susceptibility to, 191-195 Colorist. See Color Commercial side, lacking, 265-276 Conversation, a lost art, 149-151 Courage, 33, 36, 42-43 Criticism, language of, 161 Criticisms in America, 15-16 Critics, arraignment of, in catalogue, 98-102, 160-161, 167-168 Critics and criticisms, attitude towards, 162-165; early criticism of Turner, 142-143; George Moore, 168-172; his attitude towards, 155-157; his color harmonies not understood, 184; is the painter the final judge?, 162-165; order of appreciation, 173-175; Ruskin’s attitude towards color, 158-160; “Voice of a People,” 165-167 Dealers, attitude towards, 276 Death and last illness, 285-286 Decoration, 127-133; as a decorator, 131-135; in home in Paris, 220-222; “Peacock Room,” 128-131, 209 Dieppe, 33-34 Dress, 41-42 Eden, Sir William, 267-270 England’s indifference, 47-49 Englishman’s stupidity, 16 Etchings, appreciation of a collector, 96-97; of Haden, 96; catalogues of, 91; early French criticism, 60; “French Set,” 90; Haden collection of, 96; his first, 88-89; his “Venice Set,” 91; “Thames Set,” 91; “Twenty-six Etchings,” 91 Exhibitions, 1868, 177; 1893, 65; at Antwerp, 263; at Chicago, 263; at London, 265; at Paris, 1894, 24, 264; at the Royal Academy, 114-119; criticisms of, 98-101; his catalogues, 99-101; light and background required for his pictures, 134-139; of etchings, 1883, 97; of lithographs, 104; reluctant about exhibiting, 262-264; Society of American Artists in 1903, 284-285; Society of British Artists, 136; special, 120-121; with artificial light, 135; “Yellow and White,” 98, 132 Family, 25-28; brothers and sisters, 32; father, 27-28, 35; mother, 28; mother’s diary, 34-35 Fine Arts Society, 121 Foreword, 7 Form, appreciation of, 203 Fort Dearborn, grandfather built, 26-27 French art, influence of, 57-60; criticism, early, 59-60 Frith, 177; Ruskin trial, 146 Fur Jacket,” “The, 65 Gainesborough, 249, 250 Gentle Art of Making Enemies,” “The, 32, 154-155 Glasgow and the Carlyle portrait, 124; school, 55 Gleyre, 57, 59, 79 Gold Screen,” “The, 58 Greece, art of, 63 Grosvenor Gallery, 119 Haden, 32, 88-89, 96 Hague, The, illness at, 281-284; letter from, 282-284 Hanging of pictures, 124-128 Harmonies, symphonies, and nocturnes, his explanation of, 178-180 “Hermes,” by Praxiteles, 261 Hogarth, 55, 249, 250 Honors and awards, 264 Impressionism, 72 Ingres, copy of painting by, 80-81 Interior decorator, 127-128 International Society, 121 Irish ancestors, 25, 47 Italian painters, influence of, 71-72 Japanese art and influence of, 55. See Chinese and Japanese art Khayyam, Omar, 243 Lange Leizen,” “The, 58 Leyland, F. R., 128-131 Light and background for pictures, 134-139; as distinguished from color, 160 Lithographs, naming of, 183 Lithography, 102-104, 180. See Exhibitions, Catalogues Lowell, 31-32 Manet, 249-250 Marines, 24, 274-275 Marriage, 219 Method. See Work Miss Alexander, 50, 119 “Mona Lisa,” 251 Moore, “Modern Painting,” 168-172 Mother, diary of, 34-35; portrait of, 53-54, 58, 115 Music, 176-177; and color, 193; and painting, 179; and the color scale, 195-196; range of sounds, 186-188; the uneducated ear, 196; “truths of sound,” 203-204 National influence, 61-78 Nature and art, 213-216; and color, 216; and music, 215 Naval Academy, 37 Nocturnes, 119. See Pictures Nude, attitude towards, 50-51 Painting and music, 179; flat tones, 212; his manner and mode of, 231-237 Paris as an art centre, 62-63; early days in, 86-88; home life in, 222-224; in 1855, 79; Rue du Bac, 219; studio, 131, 132 Pastels, 106-107 “Peacock Room,” 128-131, 209; trouble over payment, 129-130 Phidias, 253 Philadelphia, 120 Physical appearances. See Appearance and characteristics Picture galleries, 124-128 Pictures, arrangement of, by periods, 211; “At the Piano,” 114, 210; Carlyle portrait, 123-124; estimation of, 261; exhibition of, to visitors, 133-135; “Falling Rocket,” 140; hanging of, a lost art, 124-128; hanging of portrait of his mother, 115; “Lange Leizen,” 210; marines, 212; naming of, 178, 183, 185; “Nocturnes,” “Harmonies,” and “Symphonies,” 210, 211; present prices of, 114-115; “The Princess of the Land of Porcelain,” 58, 128, 210; “Little Rose, Lyme Regis,” 273; story of “The Yellow Buskin,” 119-120; Symphonies in White, II. and III., 210; “Thames in Ice,” 210; “The Balcony,” 210; “The Gold Screen,” 210; the Japanese group, 210, 211; “The Music Room,” 210; “White Girl,” 59-60, 109, 210, 282; “The Yellow Buskin,” 65. See Portraits Pomfret, 36 Portraits, classification of, 248; color compositions, 258; difference between Whistler and Velasquez, 256-258; each one to be a masterpiece, 241-242; his best, 261-262; Irving as Philip II., 119; Lady Campbell, 119; likeness, 258-262; manner and mode of painting, 231-237; Miss Gilchrist, 119; of Lady E——, 269; portrait-painting, 244; sittings required, 30-31, 235; wraith-like quality, 255 Praxiteles, 261 “Propositions” and “The Ten o’Clock,” 108 Providence, 32 Puritan element, 49-50 Racial influence, 61-78 Raphael, 253 Rembrandt, 67, 175, 244, 253, 254, 255, 256; essentially Dutch, 67 Reynolds, Sir Joshua, 247, 249, 252 Rosa Corder, 119 Rossetti, 111 Rossi, Carmen, school of, 277-281 Royal Academy, attitude towards, 114-119; exhibitions at, etc., 114-119 Royal Society of British Artists, 217 Rue du Bac, 219 Ruskin and flat tones, 212; attitude towards color, 158-160, 199-208; attitude towards early criticism of Turner, 143; color in his home, 207-208; his limitations, 165; suit, 140-149 Savoy Hotel, 181 Sayings. See Anecdotes and sayings School, no American, 61-63; of Carmen Rossi, 277-281 Sculptor and portrait busts, 245-246 Society of British Artists, exhibition of, 136 Sounds, range of musical, 186-188 Springfield, 33 St. Petersburg, 27-28, 34-35 Stonington, 32, 35 Stories. See Anecdotes and sayings Studio, description of, 230-231; in Paris, 229 Swinburne, 74, 177 Taylor, Tom, 146 Teacher, as a, 277-281 “Ten o’Clock,” no artistic period, 73-78 Time, dilatory habits, 37-41; indifference to, 29-31; never prompt, 30 Travel, dislike for, 33-34; effect of, on artists, 69-70 Turner and color, 199; early criticism of, 142-143; Whistler’s appreciation of, 56 Valparaiso, trip to, 22-23 Velasquez, 60, 175, 244, 251, 253, 254, 255, 256, 257; essentially Spanish, 68; influence of, 71 Venice, early days in, 92-95 “Voice of a People,” 165-167 Water-color, his first, 106 Webster, Daniel, letter to, 35-36 West Point, 35-36 Westerly, 32 “White Girl,” 53, 283 “White House.” See Chelsea Will, 240 Witticisms. See Anecdotes and sayings Work always a pleasure, 90-91; as a decorator, 128-135; colors and pigments used, 72-73; description of method, 231-237; exhibition to visitors, 133-135; facility in execution, 23; his attitude towards a sitter, 238-239, 241; painting in the dark, 213-214; volume of, 104-105 Yellow Buskin,” “The, 119, 256

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