An artist among the Charing Cross Road bookshops

IMG_3272Found in the art instruction magazine The Artist (London, November 1934) an interview with the artist and art therapist Adrian Hill about his recent oil painting ‘In Charing Cross Road.’ Here are a few extracts -most of Hill’s talk is about  technique, but there are some insights on the choice of subject:

… there were some who questioned the impulse behind the work, and wondered whether the scene was worth the skill and discernment that the artist had brought to the task

I admit that I shared a little of this feeling. Charing Cross Road is a central and important thoroughfare, but it must rank in the C3 class amongst London highways. Indeed, there is so little of the beautiful or the picturesque about the neighbourhood that I asked Adrian Hill if the idea of sitting down to paint it came to him suddenly, or if he had deliberately hunted for such a subject.

“No, I wasn’t looking for it,” he said. “It came to me. It was a gift from the London traffic. I was waiting to cross the road when I suddenly found it in front of me, complete in design and detail, asking to be painted.”

“As far as size is concerned, did you see it as a 24″by 20″?”

“No, I thought at first of making it bigger – about 40″ by 30″ – but it was an experiment in the ay of subject, and I decided to go modest. If ever I do a similar scene, I shan’t hesitate to paint it on a grander scale!”

“You had no misgivings about tackling it inside the studio?”

“None at all. I believe I should have painted it mush less spontaneously and confidently if I had had the subject in front of me. The details would have been so insistent that I should have been led into making a still life study of books instead of an impression of a bookshop, which was what I was after.”

“But I suppose you had to use a model for the books?” Continue reading

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Whistler Stories

Found – Whistler Stories (Harper, New York 1913) put together by Don C Seitz. Many of the stories associated with the artist James McNeill Whistler are ironic jokes about his incredible self regard (‘…responding to an admirer who stated that there were only two great painters – Velasquez and himself. “Why drag in Velasquez.”’) or withering put downs. This exchange with Oscar Wilde is a good example of the latter:

 

Wilde asked the artist’s opinion upon a poem which he had written, presenting a copy to be read. Whistler read it and was handing it back without comment.
“Well,” queried Wilde, “do you perceive any worth?”
“It’s worth its weight in gold,” replied Whistler.
The poem was written on the very thinnest tissue-paper,
weighing practically nothing. The coolness between the two men is said to have dated from that moment.

The next story is a rare one – someone turns the tables on the great artist:

Whistler had a French poodle of which he was extravagantly fond.  This poodle was seized with an affection of the throat, and Whistler had the audacity to send for the great throat specialist, Mackenzie.  Sir Morell, when he saw that he had been called to treat a dog, didn’t like it much, it was plain.  But he said nothing.  He prescribed, pocketed a big fee, and drove away.  The next day he sent posthaste for Whistler.  And Whistler, thinking he was summoned on some matter connected with his beloved dog, dropped his work and rushed like the wind to Mackenzie’s.  On his arrival Sir Morell said, gravely:  “How do you do, Mr. Whistler?  I wanted to see you about having my front door painted.”

Lastly a tale that shows his self opinion was justified, although it took a few decades…

An American millionaire, to whom wealth had come rather quickly from Western mines, called at the Paris studio with the idea of capturing something for his gallery.  He glanced casually at the paintings on the walls, and then queried:
“How much for the lot?”
“Four millions,” said Whistler.
“What?”
“My posthumous prices!  Good morning!”