The Whistler Journal

xxi, 339 pp. "Elizabeth Robins Pennell (February 21, 1855 – February 7, 1936) was an American writer who, for most of her adult life, made her home in London. A recent researcher summed her up as "an adventurous, accomplished, self-assured, well-known columnist, biographer, cookbook collector, and art critic"; in addition, she wrote travelogues, mainly of European cycling voyages, and memoirs, centred on her London salon. Her biographies included the first in almost a century of the proto-feminist Mary Wollstonecraft, one of her uncle the folklorist Charles Godfrey Leland, and one of her friend the painter Whistler. In recent years, her art criticism has come under scrutiny, and her food criticism has been reprinted." "Joseph Pennell (July 4, 1857 – April 23, 1926) was an American artist and author. Born in Philadelphia, and first studied there, but like his compatriot and friend, James McNeill Whistler, he afterwards went to Europe and made his home in London. Joseph Pennell had many etchings that depicted historic landmarks in the city of Philadelphia. His etching of Wakefield- Fisher's Lane was created in 1882. This was the mansion of William Logan Fisher which was standing until 1985. It would have been located on the corner of Ogontz and Lindley Avenues near La Salle University's St. Basil Court.[1] He wrote and illustrated an anti-Semitic travel book, The Jew at Home: Impressions of a Summer and Autumn Spent with Him (D. Appleton: New York, 1892), based on his travels in Europe. In his preface he writes, "I am neither a Jew hater nor a Jew lover," but he describes "the Austro-Hungarian or Russian Jew [as] the most contemptible specimen of humanity in Europe...dreaded by the peasant...loathed by people of every religion," he describes the typical Polish Jewish town as "a hideous nightmare of dirt, disease, and poverty; and...all this disease and ugliness is in a large measure the outcome of their own habits and way of life," and later he says of Russian Jews, "They like dirt; they like to herd together in human pigsties;...they like to make money out of the immorality of the Christian. They are simply a race of middlemen and money-changers." He produced numerous other books (many of them in collaboration with his wife, Elizabeth Robins Pennell]. In 1886 he published Two Pilgrim's Progress an illustrated book of his journey with Elisabeth from Florence to Rome, riding a heavy tricycle. His chief distinction is as an original etcher and lithographer, and notably as an illustrator. Their close acquaintance with Whistler led the Pennells to undertake a biography of that artist in 1906, and, after some litigation with his executrix on the right to use his letters, the book was published in 1908." "James Abbott McNeill Whistler (July 11, 1834 – July 17, 1903) was an American artist, active during the American Gilded Age and based primarily in the United Kingdom. He was averse to sentimentality and moral allusion in painting, and was a leading proponent of the credo "art for art's sake". His famous signature for his paintings was in the shape of a stylized butterfly possessing a long stinger for a tail. The symbol was apt, for it combined both aspects of his personality: his art is characterized by a subtle delicacy, while his public persona was combative. He found a parallel between painting and music and entitled many of his paintings "arrangements", "harmonies", and "nocturnes", emphasizing the primacy of tonal harmony. His most famous painting is Arrangement in Grey and Black No. 1 (1871), commonly known as Whistler's Mother, the revered and often parodied portrait of motherhood. Whistler influenced the art world and the broader culture of his time with his artistic theories and his friendships with leading artists and writers."