Studio: international art (32.1904)

Whistler in Belgium

towards the innovators, the systematic rejections
of which they were the victims, and the ironical
criticisms of the ignorant ciowd. The first
exhibition of the "XX." Club was to herald an
era of conflict—to rouse the most obstinate re-
sistance, and start a real revolution in aesthetics.
The enterprise was glorious, no doubt, but full
of perils.

The response came at once ; Whistler wrote to me
in substance to this effect: " I am with you and
your friends, heart and soul. I like and admire your
rebellious spirit; without it progress is impossible.
We will fight together for the victory of our ideal."
And not long after, among the works of young
painters who have most of them become famous,
four fine paintings and a series of his Venetian
etchings, so delicate and yet so powerful, repre-
sented the artist, on the line, in the first exhibition
of the " XX."

These were the Arrangeme?it in Black: a Portrait
of Miss C. (No. 5), A Nocturne in Blue and Silver
(No. 1), A Symphony in White (No. 3), and An
Arrangement in Grey and Green : Portrait of Miss
Alexander, chosen by the painter as among his best
works.

Though these compositions and their whimsical
titles puzzled some spectators, in the eyes of those
who could see they added enormously to the
interest of the exhibition. Critics, who were but
ill-disposed to the young society, were fain to pro-
claim their beauty in terms which consoled the
painter for the prejudiced attacks of which he was
the object at that time in London. "Adverse
criticism must be silent in the presence of these
powerfully original works," says the " Echo de
Bruxelles " (Feb. nth, 1884). Another paper
which was conspicuous for the violence of its
enmity to the liberal enterprise of the " XX."—
" L'Etoile Beige"—published this laudatory com-
ment, written by its regular art-critic, M. Max Sulz-
berger : "These portraits by Mr. Whistler aresplendid
in their deliberately chosen ' symphonic' arrangement
—one in black and one in green and grey. The
first, that of a young woman, has the grand style
of a Tintoret; the second, of a girl, shows her
standing squarely, like one of the Infantas Velasquez
painted. Both have the artist's sign-manual"
(Feb. 3rd, 1884). Finally, M. Jules Destree, in
the "Journal de Charleroi," wrote, under the
pseudonym of "Jeanne " : " Whistler is prodigious.
He exhibits two portraits, of which one, bearing
the title Arrangement in Grey and Green, is a
masterly piece of painting. His Nocturne, deep
and calm, and his charming Symphony in White,
8

reveal the painter as a powerful and singularly
original colourist. Some of his etchings of Venice
are masterpieces, and the draughtsmanship is
amazing" (Feb. iSth, 1884).

On two subsequent occasions the " XX,"
who every year renewed the list of invited ex-
hibitors, besought Whistler to contribute to their
show, and in 1886 he sent them his portrait of
Sarasate.

In 1888 the painter exhibited An Arrangement
in Black (No. 3); A Nocturne in Black and Gold
(No. 2); two pastels : Rose and Silverand Harmony
in Pose and Violet; and a selection of views in
London, etchings. Thenceforward he was definitely
connected with Belgian art-circles, and ranked by
them as one of the very first of contemporary
painters. Indeed, the evolution to which he had
so efficiently contributed was gradually making its
triumphant way, though the battle was still fierce.
This will be understood from the following extract
from " La Reforme " (March 15th, 1886): " Yester-
day afternoon the Society of the 'XX' closed the
doors of its exhibition in the face of the public.
The torrent of strong language, not loud, but
deep, and of witticisms—sometimes really witty—at
the expense of the impressionist painters, is not to
be imagined. For good or for ill, no exhibition of
paintings in Belgium ever roused so many people
to vehement comment. It attracted to the Palais
des Beaux Arts many who had never till then sus-
pected what the building was used for. Many
unwilling admirers have begun their artistic educa-
tion under the 'XX,' and ere long may cease
to be unwilling. Where there is life there is pro-
gress, and the young men have every advantage
on their side in this struggle. The elders must
look out for themselves !"

The force in the field was not, indeed, contempt-
ible. Besides Felicien Rops, Fernand Khnopff, van
Rysselberghe, Ensor, Toorop, Henry de Groux—to
name only the best known of the " XX "—Whistler
found himself in company, among other invited
exhibitors, with Claude Monet, Renoir, Guillau-
min, Besnard, Rodin, Meunier, Anquetin,
Forain, Redon, J. E. Blanche, H. de Toulouse-
Lautrec, Sargent, William Chase, Liebermann,
Israels, and Jakob Maris, who were all, with
Whistler, eager to support the disinterested efforts
of the young Belgian school—a glorious list of an
aristocracy of art; to which may be added the
names of Puvis de Chavannes, Eugene Carriere,
Camille Pissarro, Alfred Sisley, J. F. Raffaelli,
Fantin-Latour, Bracquemond, F. Thaulow, Albert
Bartholome, George Frampton, J. M. Swan, Max