James McNeill Whistler Quotes

John Ruskin: 'The labour of two days is that for which you ask two hundred guineas?'
Whistler: 'No. I ask it for the knowledge I have gained in the work of a lifetime.'

Shall the painter then.. ..decide upon painting? Shall he be the critic and sole authority? Aggressive as is this supposition, I fear that, in the length of time, his assertion alone has established what even the gentleman of the quill accept as the canons of art, and recognize as the masterpieces of work. Seurat's painting of the Grande Jatte proved extremely influential.

To say of a picture, as is often said in its praise, that it shows great and earnest labor, is to say that it is incomplete and unfit for view.

One cannot continually disappoint a Continent.

I am not arguing with you — I am telling you.

Industry in art is a necessity - not a virtue - and any evidence of the same, in the production, is a blemish, not a quality; a proof, not of achievement, but of absolutely insufficient work, for work alone will efface the footsteps of work.

I say I can't thank you too much for the name 'Nocturne' as a title for my moonlights! You have no idea what an irritation it proves to the critics and consequent pleasure to me — besides it is really so charming and does so poetically say all that I want to say and no more than I wish.

Listen! There was never an artistic period. There was never an art-loving nation.

Two and two continue to make four, in spite of the whine of the amateur for three, or the cry of the critic for five.

The rare few, who, early in life, have rid themselves of the friendship of the many.

As music is the poetry of sound, so is painting the poetry of sight, and the subject-matter has nothing to do with harmony of sound or of colour. The great musicians knew this. Beethoven and the rest wrote music — simply music; symphony in this key, concerto or sonata in that.. .Art should be independent of all claptrap — should stand alone, and appeal to the artistic sense of eye or ear, without confounding this with emotions entirely foreign to it, as devotion, pity, love, patriotism, and the like. All these have no kind of concern with it; and that is why I insist on calling my works 'arrangements' and 'harmonies.'

One is always finding out more.

Nature is usually wrong.

If the man who paints only the tree, or flower, or other surface he sees before him were an artist, the king of artists would be the photographer. It is for the artist to do something beyond this: in portrait painting to put on canvas something more than the face the model wears for that one day: to paint the man, in short, as well as his features; in arrangement of colours to treat a flower as his key, not as his model. This is now understood indifferently well – at least by dressmakers. In every costume you see attention is paid to the key-note of colour which runs through the composition, as the chant of the Anabaptists through the 'Prophète', or the Hugenots' hymn in the opera of that name.

Yes, madam, Nature is creeping up. [in response to a lady who said that a landscape reminded her of his work]