Joseph Pennell: The International Society of Sculptors, Painters and Gravers

"The Trains That Come and Go" by Joseph Pennell

"To all he was doing in the Nineties, Pennell, towards the end of that crowded period, added an interest which proved anything but a sinecure. Early in the winter of 1898, after Whistler's nomination as chairman, he was elected to the Executive Council of the recently organized International Society of Sculptors, Painters and Gravers, which existed until its dissolution in 1925.

During his fourteen years in London, Pennell had watched many fruitless movements against the Royal Academy and Academic convention. The idea of the International originated with Francis Howard, who was young, had studied in Paris, taken to art criticism in London, and had the intelligence to associate with him at the start John Lavery and E.A. Walton, the leaders of the Glasgow School, and Georges Sauter, a distinguished German artist living in London. Whistler accepted the leadership of this group of independents who scoffed, as he did, at the British belief in a national art with zealously guarded frontiers.

The first meeting was held in December, 1897. At the third Whistler was elected chairman, then president. The Society was to be like no other; a self-elected Executive Council in sole charge of its affairs; exhibitors responsible for nothing save the quality of their work; a company to manage its finances; its exhibitions to be as international as its name. 

The first exhibition was held in May, 1898, in the Skating Rink at Knightsbridge, transformed temporarily into three large and two small galleries, in which Whistler's scheme of decoration, his velarium and method of hanging were adopted. Pennell arranged his journey to Wales for the late spring, to the Italian Lakes for the summer, so as to be free for his work on the Selecting and Hanging committees. His section must uphold magnificently his claims for Black-and-White. He toiled like a galley slave. If distinguished black-and-white men did not submit work he thought worthy, he hurried to their studios to commandeer their best. He did not rest until the most distinguished French, German, Italian lithographers and etchers were included. 

And it was not enough to show good work, it must be shown beautifully. He was an artist in hanging - and most artists are not. A gallery arranged by him had an air of distinction. He knew where everything ought to go, hung the collection on the floor, to quote his words, rarely making any change when he transferred it to the walls. Lunch and dinner were nothing to him. He would rather go hungry than stop at a critical stage in the hanging."

To be continued

(Excerpts from "The Life and Letters of Joseph Pennell" by Elizabeth Robins Pennell.)