Summary

Portrait of Edward Simmons Edward Simmons From Seven to Seventy: Memories of a Painter and a Yankee

One of the ceilings that was a pale robin’s-egg blue in ’91 is now an exquisite velvet khaki. No man could paint it. Whistler would give up in despair the idea of even copying it. Like the quality of the hair and skin of a dear old face, it gives an air of good breeding, calm, and quiet over all.
The halls and stairways of the house are lined with photographs and playbills, with, here and there, a painting. Over the fireplace hangs that admirable portrait of Edwin Booth by Sargent which gives one an entirely new conception of the actor.
Source: Gutenberg

Portrait of Edward Simmons Edward Simmons From Seven to Seventy: Memories of a Painter and a Yankee

This United States flag is one of the most undecorative things that an artist has to use. Made like a crazy quilt, absolutely without an æsthetic excuse, even the Barbarians do better. It is based on the Washington shield, but is an exceedingly ugly arrangement of the colors. At a distance it looks like a sweet pea; pretty, but never dignified. We love it—not for its looks—but, as Desdemona loved Othello, “for the dangers he has passed.”
I never understood Boston—or, in fact, New England—until I went back there after having spent years in Europe.
Source: Gutenberg

Portrait of Edward Simmons Edward Simmons From Seven to Seventy: Memories of a Painter and a Yankee

So far, the fine arts have been an indication of the coming death of the country that produced them—like a bush or vine, a nation flowers and then dies. Only the seeds grow, and those in another place. If I were asked to give my opinion, I would vote against forcing the people to accept the fine arts, as I would vote against giving a baby tobacco or alcohol, which would most assuredly stop its growth. (However, Emerson says, “America has a genius for making new law,” and it may be that we can change this. I sincerely hope so.)
Source: Gutenberg

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