CHAPTER XVII: THE GROSVENOR GALLERY. THE YEARS EIGHTEEN SEVENTY-SEVEN

AND EIGHTEEN SEVENTY-EIGHT.

Many exhibitions had been organised in opposition to the Royal Academy, but on too small a scale to contend against that rich and powerful institution. Sir Coutts Lindsay, the founder of the Grosvenor Gallery, brought to it money, a talent for organisation, and a determination to show the best work in the right way. Nothing could have been more in accord with Whistler's ideas. He dropped in to smoke with Mr. Cole on the evening of March 19, 1876, "in great excitement over Sir Coutts Lindsay's gallery for pictures--very select exhibition, which he carried to an extreme by saying that it might be opened with only one picture worthy of being shown that season." Sir Coutts Lindsay proposed to exhibit no pictures save those he invited, and he might have succeeded had he ignored the Academy, and made the Grosvenor as distinct from it as the International Society of Sculptors, Painters and Gravers was under Whistler's presidency. He had the daring to invite Whistler, Rossetti, Burne-Jones, Holman Hunt, Walter Crane, Watts; but the weakness to include Millais, Alma-Tadema, Poynter, Richmond, Leighton. "To those whose work he wanted, he gave little dinners," Mr. Hallé has told us, and a very strange lot some of them seemed to Sir Coutts probably, to his butler certainly. One evening the butler could endure it no longer, and he came into the drawing-room and whispered: "There's a gent downstairs says 'e 'as come to dinner, wot's forgot 'is necktie and stuck a fevver in his 'air," for at this period Whistler, Mr. Hallé says, never wore a necktie when in evening dress. The white lock bewildered others. Mrs. Leyland remembered his going to her box at the opera once, where the attendant leaned over and said: "Beg your pardon, sir, but there's a white feather in your hair, just on top!"

At first, Burne-Jones and the followers of the Pre-Raphaelites were most in evidence at Sir Coutts Lindsay's exhibitions, and the "greenery-yallery, Grosvenor Gallery" element prevailed. But the Grosvenor, by the time its traditions were taken over by the New Gallery, was little more than an overflow from the Academy.

Shortly before the first exhibition in 1877, Whistler's brother, the doctor, was married to Miss Helen Ionides, a cousin of Aleco and Luke Ionides. The wedding (April 17, 1877) was at St. George's, Hanover Square, and the Greek Church, London Wall. It brought to Whistler a good friend for the troubled years that were to come, and Mrs. Whistler's house in Wimpole Street was for long a home to him.

The first Grosvenor was a loan exhibition, and opened in May 1877. Whistler sent _Nocturne in Black and Gold--The Falling Rocket_ shown at the Dudley; _Harmony in Amber and Black_, the first title of _The Fur Jacket; Arrangement in Brown_; Irving as Philip II. of Spain, with the title _Arrangement in Black, No. III_. From Mrs. Leyland came _Nocturne in Blue and Silver_; from Mr. W. Graham another _Nocturne in Blue and Silver_--changed later by Whistler to _Blue and Gold, Old Battersea Bridge_, now at the Tate Gallery; from the Hon. Mrs. Percy Wyndham, _Nocturne in Blue and Gold_, at Westminster. The _Carlyle_ was included, but it arrived too late to be catalogued. Boehm lent his bust of Whistler in terra-cotta, done in 1872, considered at the time a good portrait.

Whistler's work was also seen in a frieze, described by Mr. Walter Crane: "Whistler designed the frieze--the phases of the moon on the coved ceiling of the West Gallery which has disappeared since its conversion into the Æolian Hall, with stars on a subdued blue ground, the moon and stars being brought out in silver, the frieze being divided into panels by the supports of the glass roof. The 'phases' were sufficiently separated from each other."

We have heard of this decoration from no one else. Probably it was overshadowed by the crimson silk damask and green velvet hangings, the gilded pilasters and furniture, the monumental chimneypiece, of which complaints were heard from every side. The sumptuousness of the background was disastrous to the pictures. Whistler's suffered less than others, but were not liked the more on that account. Before the private view (April 30, 1877), Sir Coutts Lindsay had expressed his disappointment in the _Irving_ and the Nocturnes. At the private view the crowd gathered in front of Alma-Tadema, Burne-Jones, Millais, Leighton, Poynter, Richmond. The critics sneered at Whistler, or patronised him. The _Athenæum_ grudged meagre lines to this "whimsical, if capable, artist and his vagaries." The _Times_ smiled with condescension at "Mr. Whistler's compartment, musical with strange Nocturnes," wondered how Irving enjoyed "being reduced to a mere arrangement," and deplored the theory that, in practice, covered "an entire absence of details, even details generally considered so important to a full-length portrait as arms and legs. In fact, Mr. Whistler's full-length arrangements suggest to us a choice between materialised spirits and figures in a London fog."

But no criticism was so insolent as the notice of the Grosvenor which Ruskin delivered from his circulating pulpit, _Fors Clavigera_ (July 2, 1877).

Ruskin, though social subjects engrossed him, was still the art critic powerful to the public, to himself infallible. He had made the Pre-Raphaelites, he set to work to unmake Whistler. Already he was attacked by the mental malady, the "morbid excitement" in Mr. Collingwood's words, that obscured the last years of his life; he had been very ill in the winter of 1877. Nothing else could pardon his malice and insolence. He reserved his chief abuse for Whistler's _Falling Rocket at Cremorne_, with the sudden burst of fire and shower of gold and detail disappearing in the illimitable darkness of night. That fireworks in a place of entertainment could have in them the elements of beauty was a truth Ruskin could not grasp, and with this wonderful canvas before him, he remained blind to the splendour of the subject and the mastery of the painter: "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."

Boughton, in his _Reminiscences_, tells that Whistler first chanced upon this criticism when they were alone together in the smoking-room of the Arts Club. "It is the most debased style of criticism I have had thrown at me yet," Whistler said. "Sounds rather like libel," Boughton suggested. "Well--that I shall try to find out!" Whistler replied.

Till now, his answer to abuse of his work had been the lash of his wit. But if critics had tried him by their stupidity, never, before Ruskin, had they outraged him by their venom. The insult appeared in a widely read print; he sought redress in the most public fashion possible in England, and sued Ruskin for libel.

The immediate result was that he found it harder to sell his pictures. To buy his Nocturnes was to be ridiculed, Mr. Rawlinson, one of the few who risked it, assures us. Whistler laughed away the new anxiety, and devoted more time to black-and-white. He had hoped to go to Venice, but the preparations for the trial kept him in London. And now Howell made himself as useful to Whistler as he had been to Rossetti:

"Well, you, know, it happened one summer evening, in those old days when there was real summer, I was sitting looking out of the window in Lindsey Row, and there was Howell passing, and Rosa Corder was with him. And I called to them and they came in, and Howell said: 'Why, you have etched many plates, haven't you? You must get them out, you must print them, you must let me see to them--there's gold waiting. And you have a press!' And so I had, in a room upstairs, only it was rusty, it hadn't been used for so long. But Howell wouldn't listen to an objection. He said he would fix up the press, he would pull it. And there was no escape. And the next morning, there we all were, Rosa Corder, too, and Howell was pulling at the wheel, and there were basins of water, and paper being damped, and prints being dried, and then Howell was grinding more ink, and, with the plates under my fingers, I felt all the old love of it come back. In the afternoon Howell would go and see Graves, the printseller, and there were orders flying about, and cheques--it was all amazing, you know! Howell profited, of course. But he was so superb. One evening we had left a pile of eleven prints just pulled, and the next morning only five were there. 'It's very strange,' Howell said, 'we must have a search. No one could have taken them but me, and that, you know, is impossible!'" There is a record of this period in the etching, _Lady at a Window_, with Rosa Corder, or Maud, by the garret window, looking at a print, the press behind her.

It was a period of what he called his "fiendish slavery to the press." There were new plates. In 1878 _St. James's Street_ was reproduced by lithography in the "Season Number" of _Vanity Fair_. The _Athenæum_ objected to it because it was "not done as Leech or Hogarth would have done it." The _World_ mistook the reproduction for the original, and so invited from Whistler one of the letters following each other fast: "Atlas has the wisdom of ages, and need not grieve himself with mere matters of art." _Adam and Eve--Old Chelsea_ has a special interest, for it marks the transition from his early manner in the Thames Set to the later handling in the Venetian. A plate was made from the _Irving as Philip of Spain_, the only portrait Whistler reproduced on copper, and it was not a success. His plates of Jo and Maud were never from pictures, though often studies for pictures he proposed to paint. The dry-point of his _Mother_ has no relation to the portrait. He was bored to death with copying himself, he would say, and, twenty years afterwards, when he undertook a lithograph of his _Montesquiou_ and failed, he said that "it was impossible to produce the same masterpiece twice over," that "the inspiration would not come," that when he was not working at a new thing from Nature he was not applying himself, "it was as difficult as for a hen to lay the same egg twice."

In 1878 he made his first experiments in lithography. His attention had been called to it by Mr. Thomas Way, who did more than any other man to revive the art in England. Lithography, appropriated by commerce, was almost forgotten as a means of artistic expression. In France, it was given over for cheaper and quicker methods of illustration; in England it was overweighted by the ponderous performances of Haghe and Nash, hedged about by trade unions, and reduced to the perfection of commonplace. Lithographers here and there preserved its best traditions and regretted the degradation. Mr. Thomas Way determined to interest artists again in a medium that had yielded such splendid results. He prepared stones for them, explained processes, and would not hear of difficulties. Some artists experimented, but lithography did not pay while the anecdote in paint fetched a fortune. Mr. Way appealed to Whistler, who tried the stone, grasped its possibilities, and was delighted. In his first five lithographs he did things never attempted before and found the medium adapted to him. He made nine this year on the stone, though his later work was mostly done on lithographic paper. He proposed to publish this first series as _Art Notes_, but there was no demand, and the plan fell through. _The Toilet_ and the _Broad Bridge_ were printed in _Piccadilly_ (1878), edited by Mr. Watts-Dunton, and they had hardly appeared when the magazine came to an end. Neither Whistler nor lithography then meant success for any enterprise.

In 1878, the _Catalogue of Blue and White Nankin Porcelain Forming the Collection of Sir Henry Thompson_ was published. Mr. Murray Marks and Mr. W. C. Alexander own delicate little designs of blue and white by Whistler for Mr. Marks, but never used. They were a good preparation for the drawings which, in collaboration with Sir Henry Thompson, he made to illustrate the Catalogue. Some are in brown, some in blue, reproduced by the Autotype Company. Nineteen of the twenty-six are by Whistler, simple and direct, the modelling in the drawing by the brush as the Japanese would have given it. As a rule there are neither shadows nor attempts at relief. The series is a refutation of the assertion that he could not draw. Whenever he attempted drawing of this sort, or etchings like _The Wine Glass_, he eclipsed Jacquemart and all his contemporaries. Worried, anxious, the libel case hanging over him, his debts increasing, the general distrust in his work growing, Whistler, nevertheless, gave to the catalogue his usual care. We have seen another set of the drawings, which differ slightly from those reproduced, and with which, evidently, he was not satisfied. The book was edited by Mr. Murray Marks, and issued by Messrs. Ellis and White, of 29 New Bond Street, in May, and Mr. Marks exhibited the drawings and the porcelain, with the book, in his shop, 395 Oxford Street. The show was not a success, the book was a loss, though only two hundred and twenty copies were printed. Now it is almost impossible to get.

Of personal notice, Whistler had more than enough. He was caricatured this year in _The Grasshopper_ at the Gaiety--it was in the days of Edward Terry and Nellie Farren. A large full-length, thought by many more a portrait than a caricature, was painted by Carlo Pellegrini, an Italian artist who lived in England and, under the names of "Singe" and "Ape," contributed to _Vanity Fair_ caricatures which, unlike the characterless, artless scrawls of his more popular amateur successors, were works of art and, therefore, appreciated by Whistler. The painting shows Whistler in evening dress, no necktie, and a gold chain to his monocle; and in a scene parodying the studios and artists of the day, it was pushed in on an easel, some say by Pellegrini, with the announcement, "Here is the inventor of black-and-white!" It was a failure, and no wonder. It was impossible to see the point. The painting now belongs to Mr. John W. Simpson of New York. Whistler was also caricatured in _Vanity Fair_ by "Spy," Leslie Ward, then rapidly rivalling "Ape" in popularity, and to be so caricatured was, in London, to achieve notoriety.

To the second Grosvenor in 1878 he sent, in defiance to Ruskin, another series of Nocturnes, Harmonies, and Arrangements. Among them was the _Arrangement in White and Black, No. I._, the large, full-length portrait of Miss Maud Franklin, that sometimes figures in catalogues and articles as _L'Américaine_. We believe it was never shown in England again. It passed in the early eighties into the collection of Dr. Linde, at Lübeck, where it remained until 1904, was then sold through Paris dealers to an American, and remains one of the least known of Whistler's large full-lengths. We saw it in the spring of 1904 at M. Duret's apartment in the Rue Vignon. It is the only portrait, except the _Connie Gilchrist_ and The _Yellow Buskin_, in which Whistler attempted to give movement to the figure. Miss Franklin wears a white gown in the ugly fashion of the late seventies, and walks forward, one hand on her hip, the other holding up her skirt. But she fails to fulfil Whistler's precept that the figure must keep within the frame. She seems walking out of the depths of the background, breaking through the envelope of atmosphere. The problem was difficult, an unusual one for Whistler, and, interesting as is the result, the portrait hardly ranks with the greatest. When shown in 1878, it did not help to reconcile the critics. The _Athenæum_ said: "Mr. Whistler is in great force. Last year some of his life-size portraits were without feet; here we have a curiously shaped young lady, ostentatiously showing her foot, which is a pretty large one." It was a "vaporous full-length" in the opinion of the _Times_, babbling nonsense about the Nocturnes and glad to turn from Whistler's "diet of fog to the broad table of substantial landscape spread for us by Cecil G. Lawson." Whistler contributed a drawing of the _Arrangement in White and Black_ to Blackburn's _Grosvenor Notes_, an illustrated catalogue published for the first time in 1878. For many years Whistler made these little sketches in pen and ink after his pictures for illustrated catalogues, and for papers that illustrated notices of the exhibitions, an aid to the identification of works where the titles fail.