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Alice in Borderland. With his two friends, a video-game-obsessed young man finds himself in a strange version of Tokyo where they must compete in dangerous games to survive.

After years on the run, teenage Ginny and her mother, Georgia, yearn to settle down. But the secrets in Georgia's past jeopardize their endeavor.

Young entrepreneurs aspiring to launch virtual dreams into reality compete for success and love in the cutthroat world of Korea's high-tech industry.

A first generation Indian-American explores her family history with the help of a magical pashmina. Based on the critically acclaimed graphic novel.

When an ancient troll is awakened in a Norwegian mountain, a rag-tag group of heroes must come together to try and stop it from wreaking deadly havoc.

Fueled by memories of her mother, resourceful Fei Fei builds a rocket to the moon on a mission to prove the existence of a legendary moon goddess.

His father was a railroad engineer, and Anna was his second wife. James lived the first three years of his life in a modest house at Worthen Street in Lowell.

Petersburg, Russia as his birthplace during the Ruskin trial: "I shall be born when and where I want, and I do not choose to be born in Lowell.

The family moved from Lowell to Stonington, Connecticut in , where his father worked for the Stonington Railroad. Three of the couple's children died in infancy during this period.

They lived in Springfield until they left the United States in late Petersburg to Moscow, and the family moved to St. Whistler was a moody child prone to fits of temper and insolence, and he often drifted into periods of laziness after bouts of illness.

His parents discovered that drawing often settled him down and helped focus his attention. He adopted his mother's maiden name after she died, using it as an additional middle name.

Beginning in , his father was employed to work on a railroad in Russia. After moving to St. Petersburg to join his father a year later, the young Whistler took private art lessons, then enrolled in the Imperial Academy of Arts at age eleven.

Whistler's mother noted in her diary, "the great artist remarked to me 'Your little boy has uncommon genius, but do not urge him beyond his inclination.

In —, his family spent some time in London with relatives, while his father stayed in Russia. Whistler's brother-in-law Francis Haden , a physician who was also an artist, spurred his interest in art and photography.

Haden took Whistler to visit collectors and to lectures, and gave him a watercolour set with instruction. Whistler already was imagining an art career.

He began to collect books on art and he studied other artists' techniques. When his portrait was painted by Sir William Boxall in , the young Whistler exclaimed that the portrait was "very much like me and a very fine picture.

Boxall is a beautiful colourist It is a beautiful creamy surface, and looks so rich. His art plans remained vague and his future uncertain.

The family lived frugally and managed to get by on a limited income. His cousin reported that Whistler at that time was "slight, with a pensive, delicate face, shaded by soft brown curls Whistler was sent to Christ Church Hall School with his mother's hopes that he would become a minister.

He was admitted to the highly selective institution in July on the strength of his family name, despite his extreme nearsightedness and poor health history.

Whistler bucked authority, spouted sarcastic comments, and racked up demerits. Colonel Robert E Lee was the West Point Superintendent and, after considerable indulgence toward Whistler, he had no choice but to dismiss the young cadet.

Whistler's major accomplishment at West Point was learning drawing and map making from American artist Robert W. His departure from West Point seems to have been precipitated by a failure in a chemistry exam where he was asked to describe silicon and began by saying, "Silicon is a gas.

After West Point, Whistler worked as draftsman mapping the entire U. He spent much of his free time playing billiards and idling about, was always broke, and although a charmer, had little acquaintance with women.

Coast Survey. He lasted there only two months, but he learned the etching technique which later proved valuable to his career.

At this point, Whistler firmly decided that art would be his future. For a few months he lived in Baltimore with a wealthy friend, Tom Winans, who even furnished Whistler with a studio and some spending cash.

The young artist made some valuable contacts in the art community and also sold some early paintings to Winans. Whistler turned down his mother's suggestions for other more practical careers and informed her that with money from Winans, he was setting out to further his art training in Paris.

Whistler never returned to the United States. Whistler arrived in Paris in , rented a studio in the Latin Quarter, and quickly adopted the life of a bohemian artist.

The latter was a great advocate of the work of Ingres , and impressed Whistler with two principles that he used for the rest of his career: line is more important than color and that black is the fundamental color of tonal harmony.

As luck would have it, the arrival in Paris of George Lucas, another rich friend, helped stabilize Whistler's finances for a while.

In spite of a financial respite, the winter of was a difficult one for Whistler. His poor health, made worse by excessive smoking and drinking, laid him low.

Conditions improved during the summer of Whistler recovered and traveled with fellow artist Ernest Delannoy through France and the Rhineland.

During that year, he painted his first self-portrait, Portrait of Whistler with Hat , a dark and thickly rendered work reminiscent of Rembrandt.

Also in this group was Charles Baudelaire , whose ideas and theories of "modern" art influenced Whistler.

Baudelaire challenged artists to scrutinize the brutality of life and nature and to portray it faithfully, avoiding the old themes of mythology and allegory.

Reflecting the banner of realism of his adopted circle, Whistler painted his first exhibited work, La Mere Gerard in He followed it by painting At the Piano in in London, which he adopted as his home, while also regularly visiting friends in France.

At the Piano is a portrait composed of his niece and her mother in their London music room, an effort which clearly displayed his talent and promise.

A critic wrote, "[despite] a recklessly bold manner and sketchiness of the wildest and roughest kind, [it has] a genuine feeling for colour and a splendid power of composition and design, which evince a just appreciation of nature very rare amongst artists.

It was displayed at the Royal Academy the following year, and in many exhibits to come. In a second painting executed in the same room, Whistler demonstrated his natural inclination toward innovation and novelty by fashioning a genre scene with unusual composition and foreshortening.

After a year in London, as counterpoint to his French set , in , he produced another set of etchings called Thames Set , as well as some early impressionistic work, including The Thames in Ice.

At this stage, he was beginning to establish his technique of tonal harmony based on a limited, pre-determined palette.

In , after returning to Paris for a time, Whistler painted his first famous work, Symphony in White, No.

The portrait of his mistress and business manager Joanna Hiffernan was created as a simple study in white; however, others saw it differently.

The critic Jules-Antoine Castagnary thought the painting an allegory of a new bride's lost innocence. Others linked it to Wilkie Collins 's The Woman in White , a popular novel of the time, or various other literary sources.

In England, some considered it a painting in the Pre-Raphaelite manner. The portrait was refused for exhibition at the conservative Royal Academy, but was shown in a private gallery under the title The Woman in White.

Countering criticism by traditionalists, Whistler's supporters insisted that the painting was "an apparition with a spiritual content" and that it epitomized his theory that art should be concerned essentially with the arrangement of colors in harmony, not with a literal portrayal of the natural world.

Two years later, Whistler painted another portrait of Hiffernan in white, this time displaying his newfound interest in Asian motifs, which he entitled The Little White Girl.

His Lady of the Land Lijsen and The Golden Screen , both completed in , again portray his mistress, in even more emphatic Asian dress and surroundings.

As he wrote to Henri Fantin-Latour , "General upheaval!! I had to empty my house and purify it from cellar to eaves.

Chile was at war with Spain and perhaps Whistler thought it a heroic struggle of a small nation against a larger one, but no evidence supports that theory.

After he returned to London, he painted several more nocturnes over the next ten years, many of the River Thames and of Cremorne Gardens , a pleasure park famous for its frequent fireworks displays, which presented a novel challenge to paint.

In his maritime nocturnes, Whistler used highly thinned paint as a ground with lightly flicked color to suggest ships, lights, and shore line.

In , Whistler credited his patron Frederick Leyland , an amateur musician devoted to Chopin , for his musically inspired titles.

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!

At that point, Whistler painted another self-portrait and entitled it Arrangement in Gray: Portrait of the Painter [45] c.

Furthermore, his submission of several nocturnes to art dealer Paul Durand-Ruel after the Franco-Prussian War gave Whistler the opportunity to explain his evolving "theory in art" to artists, buyers, and critics in France.

Fantin-Latour admitted, "I don't understand anything there; it's bizarre how one changes. I don't recognize him anymore. The Franco-Prussian War of fragmented the French art community.

Like Whistler, Monet and Pissarro both focused their efforts on views of the city, and it is likely that Whistler was exposed to the evolution of Impressionism founded by these artists and that they had seen his nocturnes.

By , Whistler returned to portraits and soon produced his most famous painting, the nearly monochromatic full-length figure entitled Arrangement in Grey and Black No.

A model failed to appear one day, according to a letter from his mother, so Whistler turned to his mother and suggested that he do her portrait.

He had her stand at first, in his typically slow and experimental way, but that proved too tiring so the seated pose was adopted.

It took dozens of sittings to complete. The austere portrait in his normally constrained palette is another Whistler exercise in tonal harmony and composition.

The deceptively simple design is in fact a balancing act of differing shapes, particularly the rectangles of curtain, picture on the wall, and floor which stabilize the curve of her face, dress, and chair.

Whistler commented that the painting's narrative was of little importance, [52] yet the painting was also paying homage to his pious mother. After the initial shock of her moving in with her son, she aided him considerably by stabilizing his behavior somewhat, tending to his domestic needs, and providing an aura of conservative respectability that helped win over patrons.

The public reacted negatively to the painting, mostly because of its anti-Victorian simplicity during a time in England when sentimentality and flamboyant decoration were in vogue.

Critics thought the painting a failed "experiment" rather than art. The Royal Academy rejected it, but then grudgingly accepted it after lobbying by Sir William Boxall —but they hung it in an unfavorable location at their exhibition.

From the start, Whistler's Mother sparked varying reactions, including parody, ridicule, and reverence, which have continued to today.

Some saw it as "the dignified feeling of old ladyhood", "a grave sentiment of mourning", or a "perfect symbol of motherhood"; others employed it as a fitting vehicle for mockery.

It has been satirized in endless variations in greeting cards and magazines, and by cartoon characters such as Donald Duck and Bullwinkle the Moose.

He frequently exhibited it and authorized the early reproductions that made their way into thousands of homes. During the Depression, the picture was billed as a "million dollar" painting and was a big hit at the Chicago World's Fair.

It was accepted as a universal icon of motherhood by the worldwide public, which was not particularly aware of or concerned with Whistler's aesthetic theories.

In recognition of its status and popularity, the United States issued a postage stamp in featuring an adaptation of the painting.

Whistler's Mother , Wood 's American Gothic , Leonardo da Vinci 's Mona Lisa and Edvard Munch 's The Scream have all achieved something that most paintings—regardless of their art historical importance, beauty, or monetary value—have not: they communicate a specific meaning almost immediately to almost every viewer.

These few works have successfully made the transition from the elite realm of the museum visitor to the enormous venue of popular culture.

In the s, Whistler painted full-length portraits of F. Leyland and his wife Frances. Leyland subsequently commissioned the artist to decorate his dining room see Peacock Room below.

Whistler had been disappointed over the irregular acceptance of his works for the Royal Academy exhibitions and the poor hanging and placement of his paintings.

In response, Whistler staged his first solo show in The show was notable and noticed, however, for Whistler's design and decoration of the hall, which harmonized well with the paintings, in keeping with his art theories.

A reviewer wrote, "The visitor is struck, on entering the gallery, with a curious sense of harmony and fitness pervading it, and is more interested, perhaps, in the general effect than in any one work.

Whistler was not so successful a portrait painter as the other famous expatriate American John Singer Sargent. Whistler's spare technique and his disinclination to flatter his sitters, as well as his notoriety, may account for this.

He also worked very slowly and demanded extraordinarily long sittings. William Merritt Chase complained of his sitting for a portrait by Whistler, "He proved to be a veritable tyrant, painting every day into the twilight, while my limbs ached with weariness and my head swam dizzily.

Don't move! Whistler's approach to portraiture in his late maturity was described by one of his sitters, Arthur J. Eddy, who posed for the artist in He worked with great rapidity and long hours, but he used his colours thin and covered the canvas with innumerable coats of paint.

The colours increased in depth and intensity as the work progressed. At first the entire figure was painted in greyish-brown tones, with very little flesh colour, the whole blending perfectly with the greyish-brown of the prepared canvas; then the entire background would be intensified a little; then the figure made a little stronger; then the background, and so on from day to day and week to week, and often from month to month.

And so the portrait would really grow, really develop as an entirety, very much as a negative under the action of the chemicals comes out gradually—light, shadows, and all from the very first faint indications to their full values.

It was as if the portrait were hidden within the canvas and the master by passing his wands day after day over the surface evoked the image.

Whistler produced numerous etchings, lithographs, and dry-points. His lithographs, some drawn on stone, others drawn directly on "lithographie" paper, are perhaps half as numerous as his etchings.

Some of the lithographs are of figures slightly draped; two or three of the very finest are of Thames subjects—including a "nocturne" at Limehouse; while others depict the Faubourg Saint-Germain in Paris, and Georgian churches in Soho and Bloomsbury in London.

The etchings include portraits of family, mistresses, and intimate street scenes in London and Venice. Martin Hardie wrote "there are some who set him beside Rembrandt, perhaps above Rembrandt, as the greatest master of all time.

Personally, I prefer to regard them as the Jupiter and Venus, largest and brightest among the planets in the etcher's heaven.

At the beginning and end of his career, he placed great emphasis on cleanness of line, though in a middle period he experimented more with inking and the use of surface tone.

Whistler's famous butterfly signature first developed in the s out of his interest in Asian art. He studied the potter's marks on the china he had begun to collect and decided to design a monogram of his initials.

Over time this evolved into the shape of an abstract butterfly. By around , he added a stinger to the butterfly image to create a mark representing both his gentle, sensitive nature and his provocative, feisty spirit.

His focus on the importance of balance and harmony extended beyond the frame to the placement of his paintings to their settings, and further to the design of an entire architectural element, as in the Peacock Room.

He painted the paneled room in a rich and unified palette of brilliant blue-greens with over-glazing and metallic gold leaf.

Painted in —, it is now considered a high example of the Anglo-Japanese style. Unhappy with the first decorative result of the original scheme designed by Thomas Jeckyll — , Frederick Leyland left the room in Whistler's care to make minor changes, "to harmonize" the room whose primary purpose was to display Leyland's china collection.

Whistler let his imagination run wild, however: "Well, you know, I just painted on. I went on—without design or sketch—putting in every touch with such freedom And the harmony in blue and gold developing, you know, I forgot everything in my joy of it.

Having acquired the centerpiece of the room, Whistler's painting of The Princess from the Land of Porcelain , American industrialist and aesthete Charles Lang Freer purchased the entire room in from Leyland's heirs, including Leyland's daughter and her husband, the British artist Val Prinsep.

Freer then had the contents of the Peacock Room installed in his Detroit mansion. The gallery opened to the public in Whistler exhibited the work in the Grosvenor Gallery , an alternative to the Royal Academy exhibition, alongside works by Edward Burne-Jones and other artists.

Ruskin, who had been a champion of the Pre-Raphaelites and J. Turner , reviewed Whistler's work in his publication Fors Clavigera on July 2, Ruskin praised Burne-Jones, while he attacked Whistler:.

For Mr. Whistler's own sake, no less than for the protection of the purchaser, Sir Coutts Lindsay [founder of the Grosvenor Gallery ] ought not to have admitted works into the gallery in which the ill-educated conceit of the artist so nearly approached the aspect of willful imposture.

I have seen, and heard, much of Cockney impudence before now; but never expected to hear a coxcomb ask two hundred guineas for flinging a pot of paint in the public's face.

Whistler, seeing the attack in the newspaper, replied to his friend George Boughton , "It is the most debased style of criticism I have had thrown at me yet.

The case came to trial the following year after delays caused by Ruskin's bouts of mental illness, while Whistler's financial condition continued to deteriorate.

Whistler: "It is a night piece and represents the fireworks at Cremorne Gardens. Whistler: "If it were A View of Cremorne it would certainly bring about nothing but disappointment on the part of the beholders.

It is an artistic arrangement. That is why I call it a nocturne. Holker: "Did it take you much time to paint the Nocturne in Black and Gold?

How soon did you knock it off? Whistler: "Oh, I 'knock one off' possibly in a couple of days — one day to do the work and another to finish it Whistler: "No, I ask it for the knowledge I have gained in the work of a lifetime.

Whistler had counted on many artists to take his side as witnesses, but they refused, fearing damage to their reputations.

The other witnesses for him were unconvincing and the jury's own reaction to the work was derisive. With Ruskin's witnesses more impressive, including Edward Burne-Jones , and with Ruskin absent for medical reasons, Whistler's counter-attack was ineffective.

Nonetheless, the jury reached a verdict in favor of Whistler, but awarded a mere farthing in nominal damages, and the court costs were split.

Godwin , —8 , bankrupted him by May , [79] resulting in an auction of his work, collections, and house. Stansky [80] notes the irony that the Fine Art Society of London , which had organized a collection to pay for Ruskin's legal costs, supported him in etching "The Stones of Venice" and in exhibiting the series in , which helped recoup Whistler's costs.

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