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Punch, Or the London Charivari, Volume 102, April 16, 1892 By: Various |
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VOL. 102 APRIL 16, 1892 WRESTLING WITH WHISTLERS. (A REMINISCENCE OF A RECENT EXHIBITION.) SCENE The Goupil Gallery. Groups of more or less puzzled
Britons discovered, conscientiously endeavouring to do justice
to the Collection, having realised that Mr. WHISTLER's work
is now considered entitled to serious consideration, but
feeling themselves unable to get beyond a timid tolerance.
In addition to these, there are Frank Philistines who are
here with a fixed intention of being funny, Matrons with a
strongly domesticated taste in Art, Serious Elderly Ladies,
Literal Persons, &c., &c. A Lady ( after looking at a representation of Old Battersea
Bridge in the tone of a person who feels she is making a liberal
concession ). Well, do you know, I must say that isn't so bad. I
shouldn't so much mind having that in the room, should you? [Illustration: A Brother Brush.] Her Companion ( dubiously ). Well, I don't know. He's put a steamer
in. Should you think there were steamers in a ( vaguely ) those
days? First Lady ( evidently considering Mr. WHISTLER capable of any
eccentricity ). Oh, I don't suppose he would mind that much. First Literal Person ( coming to the portrait of Miss ALEXANDER ).
Well ( plaintively ) he might have put a nicer expression on the
child! Second Do. Do. Yes very unpleasing. ( Refers to Catalogue. ) Oh,
I see it says "It is simply a disagreeable presentment of a
disagreeable young lady." First Do. Do. ( rejoicing that the painter has vindicated himself
this time ). Ah that explains it, then. Of course if he meant
it ! A Serious Elderly Lady. There's one thing I must say I do like, my
dear, and that's the way he puts down all the unfavourable criticisms
on his pictures. So straightforward and honest of him, I call it. Her Companion. Yes, but I expect he can't help seeing how right and
sensible the critics are, you know. Still ( charitably ) it shows he
would do better if he could ! An Advanced Nephew ( who is endeavouring to convert a Philistine
Uncle to the superiority of the Modern School ). Now here, Uncle,
look at this. Look at the way the figure looms out of the canvas, look
at the learning in the simple sweep of the drapery, the drawing of
it, and the masterly grace of the pose you don't mean to tell me you
don't call that a magnificent portrait? His Uncle. Who's it of? That's what I want to know first. Nephew ( coldly ). You will find it in the Catalogue, no doubt No.
41. Uncle ( looking it up ). " Arrangement in Black. La Dame au
Brodequin Jaune. " the lady in a yellow something or other. Tchah!
And not a word to tell you who she's supposed to be ? If I pay a
shilling for a Catalogue, I expect to find information in it. And let
me ask you where's the interest in looking at a portrait when you're
not told who it's intended for? [ The Nephew, not being prepared to answer this difficult
query, leads his relative gently up to a "Nocturne in Opal and
Silver." The Uncle conveys his opinion of it by a loud and
expressive snort. First Prosaic Person ( before No. 28 ). Valparaiso, is it?
( Hopefully. ) Well, come, I ought to recognise this I've been
there often enough. ( Inspecting it closely. ) Ha um! Second P.P. ( with languid interest ). Is it like ? First P.P. I could tell you better if he'd done it by daylight.
I can't make out this in the front looks to me like the top of a
house , or something. Don't remember that . Second P.P. I think it's meant for a jetty, landing stage, or that
sort of thing, and, when you look into it, there's something that
seems intended for people most extraordinary, isn't it? The Domesticated Matron ( who is searching for a picture with a
subject to it ). There, CAROLINE, it's evidently a harbour , you see,
and ships, and they're letting off fireworks probably for a regatta,
Does it tell you what it is in the Catalogue? Caroline ( after consulting it )... Continue reading book >>
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