Until the emergence of abstract expressionism after World War II, American artists who wish to be taken seriously must live and work in Europe, mainly in Paris and London. This could mean permanent residence or extended accommodation, and the list of names for doing so was very extensive, returning to Benjamin West and John Singleton Copley in 18th century London. Mary Cassatt and John Singer Sargent attracted 19th-century Paris and were famous figures in the next century, from Man Ray and Alexander Calder to Ellsworth Kelly and Joan Mitchell.
But the weirdest and most irritating character of these foreigners is certainly James Abbott McNeill Whistler (1834-1903), who caused controversy by one of his artists’ self-self and his enormous personality. He was an outstanding innovator and a central figure in the aesthetic movement, which embraced the “art for art”, a philosophy of his work by typing his paintings as “music” color, titled “music”. Gray and black number 1 arrangement (1871) is a typical example. Otherwise it is called Whistler’s Motherwhich is like any masterpiece in art history, is a set of formal elements that seem to portray its harsh theme as an embodiment of New England Stoicism. In fact, Anna McNeill Whistler is a North Carolina native, the artist plays a background to improve himself as a shabby Southern noble character. Of course, nothing goes further than the facts.
Whistler was born in Lowell, Massachusetts and is the son of an Indiana civil engineer. In 1842, his father William was recruited by Russia’s Tsar Nicholas I to design and supervise the construction of the railway connecting Moscow and St. Petersburg. The family moved to St. Petersburg, which proved that artist Whistler would be the foundation.
Whistler even a moody, often lazy child shows his ability to paint. His parents encouraged his artistic interests because it seemed to be the only constructive channel for his behavior. While in Russia, he received a private art class and attended the Imperial Academy of Art in St. Petersburg at the age of 11, where he performed well. He also met Scottish historical painter Sir William Allan, who served as a committee in Russia to paint scenes from Peter the Great’s life. Allen was impressed by the boy’s gift, assured his parents that he was undoubtedly a genius. Between 1847 and 1848, accommodation in London furthered the ambitions of young Whistler.
Still, Anna wanted him to be minister, and when Whistler returned to the United States with her, she recruited him to the bishop boarding school. Not surprisingly, religion is not his call, he spins toward the West Point, and this is an equally bad person. After three years, he was unceremoniously expelled by the future head of Robert E. Lee, the Northern Virginia Army.
Eventually, Whistler worked as a painter and moved to Paris in the 1850s. In 1859 he often returned to London, although he often returned to the French capital, where he established close ties with the avant-garde of the period. He was included in Henri Fantin-Latour’s Tribute to Delacroix (1864), a group portrait of the circle also features Édouard Manet and Charles Baudelaire.
But it was in London that Whistler established himself, and after he went there with him, he painted a portrait of his mother. The story is that when the model intends to not appear as the original nanny, she becomes his subject. The result is a standout, welcomed by the audience’s ridicule and confusion, who prefer Victorian paintings over Whistler’s simplicity.
While the title’s tone occupies the canvas, Whistler’s palette contains hints of brown and yellow, even blue ones. He used oil diluted with Copal (a fragrant resin commonly used for incense), turpentine and flaxseed oil (a recipe cheese cream called “sauce”) to apply the color, and he used a recipe cream called “sauce” in a series of nocturnes later.
However, the quality of the characteristics Whistler’s Mother The most important thing is its strict flat form organization, which includes Anna, is regarded as a black shape, sitting on a regular chair, feet, pointed black shoes, supported by low Ottomans.
Whistler renders Anna in a complete black dress, paired with lace cuffs with a pair of handkerchiefs and an untie hood. He leaned her against the wall on two frames, only one of which (the etching of Whistler) was fully visible. It hangs next to the curtain on the left, taking up nearly a third of the image as it connects to the wide black skirting line behind Anna’s legs (and blends together). Together they form a right-angle mirrored Anna pose.
indeed, Whistler’s Mother It is a veritable symphony with a 90-degree turn that locks its body into a rigid scheme that forms a square between the edges of the curtain, the frame image and Anna’s back. Her feelings about it were deduced from the grim concentration of her narrow lips.
This is a debate about Whistler’s view of her relationship with her mother, but she is known to be shocked by her Bohemian lifestyle. Nevertheless, his main focus is on the language of the painting, and once again using it Gray and black layout,,,,, No. 2 (1872-73), portrait of philosopher Thomas Carlyle, although the posture is easier.
Cool reception Whistler’s Mother Almost not unique. Review another job, Black and golden nocturne, falling rocket (1875), critic John Ruskin, without fans of Whistler’s, described it as a pot of paint faced by the audience. Whistler sued Ruskin for defamation, and the resulting trial almost broke him. Whistler eventually won the victory, but was awarded only half of the court fees by the jury.
Whistler’s portrait of Anna will become a symbol of maternity, angering an artist who wants to know why the public cares about the subject. Still, he allowed “a person likes to make his mummy as good as possible.” But if it is OK One refers to the arousal of the Puritans, and then affirmation Whistler’s Mother This goal has been achieved and it has become the real part of the United States.
