EXHIBITED: Royal Academy, 1859-’65, ’67, ’70, ’72, ’79; Society of British Artists, 1884-’87; Grosvenor Gallery, 1877-’79, ’81-’84; Dudley Gallery (Oil), 1871-’73, ’75; Dudley Gallery (Black and White), 1872, ’79, ’80; Society of Portrait Painters, 1891-’93; Royal Scottish Academy, 1899, 1901-’04. WORKS IN PUBLIC GALLERIES: National Gallery; Glasgow Art Gallery. BIOGRAPHICAL AND CRITICAL SOURCES: “The Art of Whistler,” by T. R. Way and G. R. Dennis, 1903; “Life of Whistler,” by E. R. and J. Pennell, 2 vols., 1908; “Memoirs of Whistler,” by T. R. Way, 1912; Wedmore’s “Whistler’s Etchings”; “D. N. B.” (Supplement). REPRODUCTIONS: The “Whistler Portfolio” (THE STUDIO Special Publication, 1904); the monthly issues of THE STUDIO; in Way’s and Pennells’ works cited above, etc.] In Turner’s and Alfred Hunt’s works the multitudinous objects of Nature are subdued to poetical and decorative purposes chiefly by the influence of the atmosphere. But though subdued in the final result the facts were always vividly present to the minds of these artists. With Whistler and all those who like him were influenced by the theories of Impressionism, such facts were less considered. They began with the study of values and tones, and relied almost entirely on the justness with which these were rendered, being content with a merely slight and grudging suggestion of the objects which were veiled in their envelopment of atmosphere. The difference, I admit, is only one of degree. But it accounts, I think, for the difference between a drawing like Whistler’s water-colour of _London Bridge_ (reproduced in Mr. Way’s “The Art of James McNeill Whistler,” p. 96) and, say, Alfred Hunt’s _Coast Scene near Whitby_ (1878). The advantage of Whistler’s method of approach is that it throws greater emphasis on the decorative quality of the picture, the tones being capable of treatment as a unity of colour harmonies--an advantage which Whistler clearly realized and diligently exploited.