Das Leben von James McNeill Whistler,. n Paris im Jahre 1856, wenn bracquemond Japan in einem kleinen Volumen von Hokusai entdeckt, die für die Verpackung von China verwendet, und rettete durch Delatre, den Drucker. In die Hände von Laveille, der Stecher von himBracquemond Itpassed, und es erreicht. Danach Bracquemond hatte die bookalways von Ihm; und wenn im Jahre 1862 Madame Hoess, der, mit herhusband, hatte in Japan lebte, eröffnet ein Geschäft unter den Arkaden des theRue de Rivoli, die Begeisterung verbreiten, Manet, Fantin, Tissot, Jacque-Mart und Solon, Baudelaire und der De Goncourts. Rossetti wassupposed machte es die Mode zu haben. Aber t

• Bildanbieter: The Reading Room / Alamy Stock Foto
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Life of James McNeill Whistler, . n Paris in 1856, when Bracquemond discovered Japan in a little volume of Hokusai, used for packing china, and rescued by Delatre, the printer. Itpassed into the hands of Laveille, the engraver, and from himBracquemond obtained it. After that, Bracquemond had the bookalways by him; and when in 1862 Madame Desoye, who, with herhusband, had lived in Japan, opened a shop under the arcades of theRue de Rivoli, the enthusiasm spread to Manet, Fantin, Tissot, Jacque-mart and Solon, Baudelaire and the De Goncourts. Rossetti wassupposed to have made it the fashion. But the fashion in Paris beganbefore Rossetti owned his first blue pot or his first colour-print.Whistler brought the knowledge and the love of the art to London. It was he who invented blue and white in London, Mr. MurrayMarks assures us, and Mr. W. M. Rossetti is as certain that his brotherwas inspired by Whistler, who bought not only blue and white, butsketch-books, colour-prints, lacquers, kakemonos, embroideries, screens.84 [1863. * z W - Chelsea Days In his house in Chelsea, facing Battersea Bridge, Mr. Severn writes, he had lovely blue and white, Chinese and Japanese. The onlydecorations, except the harmony of colour, were the prints on the walls, a flight of Japanese fans in one place, in another shelves of blue andwhite. People, copying him, stuck up fans anywhere, and hung platesfrom wires. Whistlers fans were arranged for colour and line. Hisdecorations bewildered people even more than the work of the newfirm of Morris, Marshall, Faulkner and Co. The Victorian artistcovered his walls with tapestry, filled his studio with costly things, and made the public measure beauty by price, a fact overlooked byWhistler, but never by Morris. Rossetti joined in the hunt for blue and white. Henry Treffy Dunn, in his Recollections of Rossetti, whose assistant he was, writes that Rossettiand Whistler each tried to outwit the other in picking up the choicestpieces of blue to be met with ; th

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• bookcentury1900
• bookdecade1910
• bookpubl
• booksubjectamericanart