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is not worth two hundred guineas."

      Mr. Bowen here proposed to ask the witness to look at a picture of Titian,[15] [15]"I believe the world may see another Titian, and another Raffaelle, before it sees another Rubens."—Mr. Ruskin. in order to show what finish was.[16] [16] … "The Butcher's Dog, in the corner of Mr. Mulready's 'Butt,' displays, perhaps, the most wonderful, because the most dignified, finish … and assuredly the most perfect unity of drawing and colour which the entire range of ancient and modern art can exhibit. Albert Durer is, indeed, the only rival who might be suggested."—John Ruskin Slade Professor of Art: Modern Painters.

      Mr. Serjeant Parry objected.

      Mr. Baron Huddleston: "You will have to prove that it is a Titian."

      Mr. Bowen: "I shall be able to do that."

      Mr. Baron Huddleston: "That can only be by repute. I do not want to raise a laugh, but there is a well-known case of 'an undoubted' Titian being purchased with a view to enabling students and others to find out how to produce his wonderful colours. With that object the picture was rubbed down, and they found a red surface, beneath which they thought was the secret, but on continuing the rubbing they discovered a full length portrait of George III. in uniform!"

      The witness was then asked to look at the picture, and he said: "It is a portrait of Doge Andrea Gritti, and I believe it is a real Titian. It shows finish. It is a very perfect sample of the highest finish of ancient art.[17] [17] … "I feel entitled to point out that the picture by Titian, produced in the case of Whistler v. Ruskin, is an early specimen of that master, and does not represent adequately the style and qualities which have obtained for him his great reputation—one obvious point of difference between this and his more mature work being the far greater amount of finish—I do not say completeness—exhibited in it … and as the picture was brought forward with a view to inform the jury as to the nature of the work of the greatest painter, and more especially as to the high finish introduced in it, it is evident that it was calculated to produce an erroneous impression on their minds, if indeed any one present at the inquiry can hold that those gentlemen were in any way fitted to understand the issues raised therein.—I am, Sir, your obedient servant,

       A. MOORE.

       "Nov. 28."

       Extract of a letter to the Editor of the Echo. The flesh is perfect, the modelling of the face is round and good. That is an 'arrangement in flesh and blood!'"

      The witness having pointed out the excellences of that portrait, said: "I think Mr. Whistler had great powers at first, which he has not since justified. He has evaded the difficulties of his art, because the difficulty of an artist increases every day of his professional life."

      Cross-examined: "What is the value of this picture of Titian?"—"That is a mere accident of the saleroom."

      "Is it worth one thousand guineas?"—"It would be worth many thousands to me."

      Mr. Frith was then examined: "I am an R.A.; and have devoted my life to painting. I am a member of the Academies of various countries. I am the author of the 'Railway Station,' 'Derby Day,' and 'Rake's Progress.' I have seen Mr. Whistler's pictures, and in my opinion they are not serious works of art. "It was just a toss up whether I became an Artist or an Auctioneer."—W. P. Frith, R.A.

       REFLECTION:

       He must have tossed up.

      

The nocturne in black and gold is not a serious work to me. I cannot see anything of the true representation of water and atmosphere in the painting of 'Battersea Bridge.' There is a pretty colour which pleases the eye, but there is nothing more. To my thinking, the description of moonlight is not true. The picture is not worth two hundred guineas. Composition and detail are most important matters in a picture. In our profession men of equal merit differ as to the character of a picture. One may blame, while another praises, a work. I have not exhibited at the Grosvenor Gallery. I have read Mr. Ruskin's works."

      

REFLECTION: A decidedly honest man—I have not heard of him since.

      Mr. Frith here got down.

      Mr. Tom Taylor—Poor Law Commissioner, Editor of Punch, and so forth—and so forth:—"I am an art critic of long standing. I have been engaged in this capacity by the Times, and other journals, for the last twenty years. I edited the 'Life of Reynolds,' and 'Haydon.' I have always studied art. I have seen these pictures of Mr. Whistler's when they were exhibited at the Dudley and the Grosvenor Galleries. The 'Nocturne' in black and gold I do not think a serious work of art." The witness here took from the pockets of his overcoat copies of the Times, and with the permission of the Court, read again with unction his own criticism, to every word of which he said he still adhered. "All Mr. Whistler's work is unfinished. It is sketchy. He, REFLECTION:

       To perceive in Ruskin's army Tom Taylor, his champion—whose opinion he prizes—Mr. Frith, his ideal—was gratifying. But to sit and look at Mr. Burne Jones, in common cause with Tom Taylor—whom he esteems, and Mr. Frith—whom he respects—conscientiously appraising the work of a confrère—was a privilege!!

      

no doubt, possesses artistic qualities, and he has got appreciation of qualities of tone, but he is not complete, and all his works are in the nature of sketching. I have expressed, and still adhere to the opinion, that these pictures only come 'one step nearer pictures than a delicately tinted wall-paper.'"

      This ended the case for the defendant.

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