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Conclusion

James McNeill Whistler personality definitely influenced Wilde’s novel The Picture of Dorian Gray and the fictitious painter Basil Hallward.

Wilde’s first encounter with Whistler’s paintings took place at the Grosvenor Gallery opening in 1877. Both artists met either this year or a bit later and the friendship began. They were representatives of the Aesthetic movement and were parodied in the popular comic Opera Patience. Wilde was promoting during his America Tour in 1882 except the aesthetic ideas and the mentioned opera also Whistler’s paintings. Till now are known some of witty talks and bon-mots of both artists. They were neighbours from London Tite Street where Wilde was visiting Whistler’s studio. With Whistler’s Ten O’Clock lecture in the middle of eighties their dispute about art began and later intensified. One of their disputes main topics - Nature versus Art - seem to be the most influential to Wilde’s novel The Picture of Dorian Gray. (With the Nature versus Art motive Wilde dealt theoretically also in the essay “The Decay of Lying” from the same year as the Lippincott’s version of the novel). The other important subject of the dispute was the supremacy of one kind of art over the other. According Wilde the supreme artist is the poet which couldn’t be accepted by Whistler. In the second half of eighties Whistler accused Wilde from plagiarism and after one views exchange in newspapers they ended up as complete enemies and did not talk together at all. Regarding Wilde’s biographer Richard Ellmann these disputes made Wilde to kill Whistler as Basil Hallward in The Picture of Dorian Gray.

In Wilde’s novel there is not too much written about the portrait itself. It was a full length portrait painted in the new ‘realistic’ manner invented by Basil Hallward. Here can be seen link to Whistler as he was except other areas of painting respected portrait painter. He painted many full length portraits, signed them in vermilion and he was also designing their frames (as Basil does in the novel). Wilde knew all these as he was visiting Whistler’s studio in the first half of eighties and was spending there time.

Basil’s trips to Paris can be also understood as indication of Whistler’s influence. He was connected to Paris more than any other painter from Wilde’s acquaintances. Even nowadays known as ‘American’ painter he lived long time in Paris before moving to London. Whistler also exhibitied in galeries from the novel - London Grosvenor Gallery and Georges Petit Gallery in Paris. Galleries from the novel are real galleries.

Whole novel story takes place on real places of Wilde’s time London.

The characters are a mixture of different influences from Wilde’s life together with himself and his own imagination. The principle original seems to be Wilde himself as he characterized: “[the book] contains much of me in it, Basil Hallward is what I think I am: Lord Henry what the world thinks of me: Dorian what I would like to be - in other ages, perhaps.”¹⁵⁰ (Gillespie 394)

Literature:

Alexander, Michael. A history of English Literature. New York: Palgrave Macmilian. 2013. Print.

Anderson, Ronald. Koval, Ann. James McNeill Whistler. Beyond the myth. New York: Carrol & Graf Publishers. 2002. Print.

“Art versus morality: Dorian Gray on Trial. From Edward Carson’s Cross Examination of Wilde (First Trial)”. The picture of Dorian Gray. Oscar Wilde, edited by Michael Patrick Gilespie, New York, London: W.W.Norton. 2007. pp. 382-389. Print.

Beatrice Whistler, Web. 21 July 2018. https://en.wikipedia.org/wiki/Beatrice_Whistler

Belford, Barbara. Oscar Wilde: A Certain Genius. New York: Random House, 2000. Print.

Bergonzi, Bernard. “Late Victorian to Modernist”. An outline of English literature, edited by Pat Rogers, Oxford. New York: Oxford University Press. 1998, pp. 347-391. Print.

Douglas, Alfred Lord. Oscar Wilde and myself. London: John Long, Limited, 1914. Print.

Ellmann, Richard. Oscar Wilde. London: Penguin, 1987. Print.

Frank Miles. Web. 17 July 2018. https://en.wikipedia.org/wiki/Frank_Miles

Frankel, Nicholas, editor. The Picture of Dorian Gray. An annotated, uncensored edition. Oscar Wilde. The Belknap Press of Harvard University Press, Cambridge, Massachutes, London, England 2011. Print.

Gillespie, Michael Patrick, editor. The picture of Dorian Gray. Oscar Wilde, New York. London: W. W. Norton. 2007. Print.

---. “Picturing Dorian Gray: Resistant Readings in Wilde’s Novel”. The Picture of Dorian Gray. Oscar Wilde, edited by Michael Patrick Gillespie, New York, London: W.W.Norton. 2007. pp. 393-409. Print.

GUW - The Correspondence of James McNeill Whistler, 1855-1903, edited by Margaret F. MacDonald, Patricia de Montfort and Nigel Thorp; including The Correspondence of Anna McNeill Whistler, 1855-1880, edited by Georgia Toutziari. On-line edition, University of Glasgow. http://www.whistler.arts.gla.ac.uk/correspondence

Holland, Vyvyan. Son of Oscar Wilde. London: Penguin Books, 1957. Print.

Huysmans,Joris-Karl. A Rebours/ Le drageoir aux épices, Paris, 1975. Print.

---. Naopak, Bratislava, Tatran 1971. Print.

James Abbott McNeill Whistler in London. Web. 17 July 2018. https://www.youtube.com/watch?v=rAqkQbsSZMM

James Abbott McNeill Whistler. Wikipedia. Web. 7. August 2018. https://en.wikipedia.org/wiki/James_Abbott_McNeill_Whistler

Kohl, Norbert. Oscar Wilde the work of conformist rebel. Cambridge: Cambridge University Press. 1980. Web. 17 July 2018. https://books.google.cz/books?id=cb5ARofcdlwC&pg=PA140&lpg=PA140&dq=basil+ward+painter&source=bl&ots=GNmDvk_cPu&sig=BAqnVhb05JGq_9DurP1rsrcTqi8&hl=cs&sa=X&ved=0ahUKEwj6m_6tjJraAhWOyaQKHZyIBZwQ6AEISjAH#v=onepage&q=basil%20ward%20painter&f=false

Lawler, Donald L.“Oscar Wilde’s First Manuscript of The Picture of Dorian Gray”. The picture of Dorian Gray. Oscar Wilde, edited by Michael Patrick Gillespie, New York, London: W.W.Norton. 2007. pp. 429-439. Print.

Magid, Annette M., editor. Wilde's Wiles: Studies of the Influences on Oscar Wilde and his Enduring Influences in the Twenty-First Century. Newcastle upon Tyne: Cambridge Scholars Publishing, 2013. Web. 17 July 2018. https://books.google.cz/books?id=jOUxBwAAQBAJ&pg=PR4&lpg=PR4&dq=magid+annette+influences+wilde&source=bl&ots=K6m6mPavp9&sig=guTZUs9WJ88G0kDcyT4erVFT2Tw&hl=cs&sa=X&ved=0ahUKEwiNkvSn8qbcAhUJUlAKHdf5B1AQ6AEIVjAL#v=onepage&q=whistler&f=false

Oscar Wilde portrait to have first UK exhibition. The Guardian. Web. 17 July 2018. https://www.theguardian.com/culture/2016/dec/13/oscar-wilde-portrait-to-have-first-uk-exhibition-robert-goodloe-harper-pennington

Patience (Opera). Web. 17 July 2018 . https://en.wikipedia.org/wiki/Patience_(opera)

Patience (Opera). Web. 17 July 2018 . https://www.youtube.com/watch?v=GugeH9xd9zE

Patience (Opera). Web. 17 July 2018 . https://www.youtube.com/watch?v=HvqrlgwqlHs

Pearce, Joseph. The Unmasking of Oscar Wilde. San Francisco: Ignatius Press, 2004. Print.

Pearson, Hesketh. The Life of Oscar Wilde. London: Methuen & CO LTD. 1947. Print.

Pennell, Elizabeth Robins. Pennell, Joseph. The Life of James McNeill Whistler. Web. 25 July 2018. http://www.gutenberg.org/files/47363/47363-h/47363-h.htm

Ragland-Sullivan, Ellie. “The phaenomenon of Aging in Oscar Wilde’s Picture of Dorian Gray: A Lacanian View”. The picture of Dorian Gray. Oscar Wilde, edited by Michael Patrick Gillespie, New York, London: W.W.Norton. 2007. pp. 476-495. Print.

Ricketts, Charles. Recolections of Oscar Wilde. Praha: Romeo. 2008. Print.

Sammells, Neil. The Plays and Prose of Oscar Wilde. New York: Pearson Education Limited, 2000. Print.

Sanders, Andrew. The short Oxford History of English literature. Oxford. New York: Oxford University Press. 2004. Print.

Sherard, Robert Harborough. The real Oscar Wilde. London: T. Werner Laurie LTD. 1916. Print.

Symphony in White, No. 1: The White girl. Web. 18 July 2018. https://en.wikipedia.org/wiki/Symphony_in_White,_No._1:_The_White_Girl

The Project Gutenberg eBook, The Gentle Art of Making Enemies, by James McNeill Whistler. Web. 7 August 2018. http://www.gutenberg.org/files/24650/24650-h/24650-h.htm

Wilde, Oscar. Portét pana W.H. The Portrait of Mr.W.H.. Praha: Romeo. 2008. Print.

---. “The Decay of Lying”. Intentions, London: Methuen & CO LTD. 1921, pp. 1-54. Print.

---. “The Picture of Dorian Gray (1891)”. The Picture of Dorian Gray. Oscar Wilde, edited by Michael Patrick Gillespie, New York, London: W.W.Norton. 2007. pp. 5-184. Print. [Primary source - quoted in text as: Wilde page number]

---. “The Picture of Dorian Gray (1890)”. The Picture of Dorian Gray. Oscar Wilde, edited by Michael Patrick Gillespie, New York, London: W.W.Norton. 2007. pp. 185-303. Print. [quoted in text as: Wilde Lippincott’s page number]

Wilde v Whistler. Being an acrimonious correspondence on art between Oscar Wilde and James A McNeill Whistler. London privately printed MCMVI. Web. 25 July 2018. https://archive.org/stream/wildevwhistlerbe00whis#page/n0/mode/2up

1^ Oscar Wilde (16 October 1854 – 30 November 1900) was an Irish born English writer who is nowadays known mainly for his plays and also life style. Probably the most popular play is the Importance of Being Earnest (1895). He wrote also poems, art critics and reviews and was lecturing both in America and England.

2^ As Ellmann 314 mentions on 20 June 1890 – July issue. (Ellmann 314) According Frankel Lippincott’s version was published “simultaneously in England and America” (Frankel 4)

3^ According Ellmann in April 1891. (Ellmann 323)

4^ As Gillespie mention ““Wilde’s preface to Dorian Gray appeared in Frank Harris’s Fortnightly Review several months before the second edition of the novel.” (Gillespie 3)

5^ Frankel, Nicholas (ed.). The Picture of Dorian Gray. An annotated, uncensored edition. Oscar Wilde. The Belknap Press of Harvard University Press, Cambridge, Massachutes, London, England 2011. ”This edition of The Picture of Dorian Gray is based upon the typescript , with emendations in Wilde’s own hand, that the author submitted for the publication to the Philadelphia-based Lippincott’s Monthly Magazine in late march or early April 1890, roughly eleven weeks before the novel was first published in the magazine’s July number. This version differs markedly from the one that Lippincott’s eventually published, as well as from all succeeding published editions: it represents the novel as Wilde envisioned it in the spring of 1890, unaltered and uncensored by its first editor, Lippincott’s Joseph Marshall Stoddart.” (Frankel 38) Frankel also specify where we can find the original: “The typescript on which the present edition is based is now housed is now housed at the William Andrews Clark Library, at the University of California in Los Angeles.” (55) Interesting is the fact that it is type-written and not hand-written, for according Frankel seems to be Wilde’s own decision. (55) To this typescript “Wilde had added some more 3000 words of new material in his own hand before sending it to Stoddart”(42), who owned it long after Wilde’s death. (42) According Frankel there were “some 500 words excised prior the publication” by Lippincott’s. (10)

In Lawler text “Oscar Wilde’s First Manuscript of The Picture of Dorian Gray” is mentioned also holograph manuscript at the Pierpont Morgan Library but this is according him based on some older draft which - if survived till now - must be privately owned. (Lawler 431, 438-9)

6^ Gillespie, Michael Patrick, editor. The picture of Dorian Gray. Oscar Wilde, New York. London: W.W.Norton. 2007 Print. .

7^ James McNeill Whistler (11 July 1834 - 17 July 1903) was an American born painter. One of the most known American painters even nowadays. He spend big part of his life in London and Paris. His most famous paintings Arrangement in Grey and Black No. 1 (1871), known as Whistler's Mother, was pinted in Paris. Controversial was the painting Nocturne in Black and Gold: The Falling Rocket (1874).

8^ Magid’s term (Magid 55)

9^ Gillespie mentions in the note to the Ellie Ragland-Sullivan essay The Phenomenon of aging that “Many critics understand Dorian as representing innate doublemaness in man, to which they attribute the novel’s appeal. Certainly the theory of the doubles places Wilde in Victorian times. The Picture of Dorian Gray is in the line of nineteenth-century novels of monstros, fictional doubles beginning with Marry Shelley’s Frankenstein, or the Modern Promehteus (1818) and followed by Robert Louis Stevenson’s The Strange case of Dr.Jekyll and Mr.Hyde (1885) and Abraham Stoker’s Dracula (1897). Psychoanalitic studies of the double which focus on Dorian Gray stress a pathogenic narcissism. Harry Tucker Jr. proposes that Dorian Gray killed his double because his own self-love makes it impossible to love another … Otto Rank has suggested that that the most prominent symptom of such narcissism is a powerfull consiousness of guilt which forces the hero to reject responsibility for certain actions of his ego, placing it instead upon another ego, a double who is created by a diabolical pact … Such interpretations consider both the ego and the superego as static whole agencies capable of a neurotic division.” (Gillespie 491) Such an explanation is very interesting and might be thruthful from the psychoanalys point of also probable seems Ellamn‘s explanation introducted later in my text that Wilde is this way setlling the bill with James McNeill Whistler.

10^ The full title of Walter Pater’s (1880 – 1930) work fom 1873 is Studies in the History of the Renaissance.

11^ Ellmann adds: " ‘The Remarkable Rocket‘, which dates from the same period, is an exploration of vanity. Wilde, though often accused of vanity, did not approve of it.. The vainest man he knew was Whistler, who called himself, with a pretens of jocularity, ‘ the amazing one.’ Wilde in their warmer days had overlooked his vanity. A later review showed some falling away: ’Mr Whistler always spelt art, and I believe still spells itm with a capital “I”.‘ The rocket in Wilde’s story insist ‘you should be thinking about me. I am always thinking of myself, and I expect everyone else do the same. That is what is called sympathy.’ And again, ‘you forget that I am very uncommon and very remarkable …. The only thing that sustains one through life is the consciousness of the immense inferiority of everybody else, and this is feeling I have always cultivated.’ The association of Whistler with the rockets went back to the vernissage of the Grosvenor Gallery in 1877, where Wilde had seen (his review said) ‘a oicket of golden rim, with green and red fires bursting in a perfectly blank sky,’ and another rocket ‘breaking in a pale blue sky.’ Eight years alter he had written of the fireworks in Whislter’s prose and painting alike. Now the ‘remarkable’ rocket, with all its fizz is a dud.” (Ellmann 295-6)

As Pearce mentions there can be later allusion on Whistler painting in the Wilde’s satira ‘The remarkable Rocket’ (Pearce 204-5)

12^ Ellmann is here quoting Wilde’s review in Saunders’s Irish Daily News, 5 May 1879. (Ellmann 131)

Frankel quotes Wilde’s critique of Grosvenor Gallery exhibition from 1879:“While the yearly exhibition of the Royal Academy may be said to present us with the general characteristics of ordinary English art is at its commonplace level, it is at the Grosvenor Gallery that we are enabled to see the highest development of the modern artistic spirit”(Frankel 71) and mentions that “In one of several fine recent studies of the Grosvenor Gallery, Christopher Newall notes that “the Grosvenor came to be thought of as an appropriate place to show portraits - preferable in many ways to the Academy” (Frankel quotes from Newal, Christopher. The Grosvenor Gallery Exhibitions. Cambridge University Press, 1995, pp. 28. (Frankel 71))

13^ George Francis Miles (1852-1891) was London based artist specialised in pastel portraits of young ladies. Wilde met him in Oxford (Frank Miles)

14^ Belford mentions that Whistler came to London in 1859 when he was twenty-five to blitz the Royal Academy. Childhood he spent in St.Petersbourgh ”and, following expulsion from West Point, he lived as a bohemian in Paris.” (Belford 68)

15^ According Ellmann “During the early period of Wilde’s residence in London, Whistler had to endure an enforced absence. His minimally successful libel against Ruskin, heard on 26 November 1878, in which he was awarded a farthing damages and no costs, had led to bankrupcy; he fled to Venice from September 1879 until November 1880, and there executed a series of etchings brilliant enough to enable him to return. Though he could not wrest his old abode, the White House, away from the art critic Harry … Quilter, he found another house, in Tite Street, and so was a neighbour of Miles and Wilde.” (Ellmann 131)

16^ Lillie Langtry (1852 – 1929) English actress. Wilde’s friend.

17^ Anderson is here quoting from Terry, Ellen. Ellen Terry’s Memoirs, edited by E.Craig and C. St John. 1933. pp. 231. (Anderson 239) The same quote in Ellmann 132. Also Sherard mentions that Wilde was ‘quick in repartee’: “He was eminently endowed with that form of wit which the French call esprit d’escalier. The clever things that come to one as one is going downstairs after an interview, the clever things one ought to have said at the moment. He used carefully to prepare the flashes which came suddenly and as improptus. … In this respect Wilde differed from his one-time friend, Whistler, who indeed had the gift of instant repartee. Oscar was slower and more ponderous, and would ever be restrained by his great good nature, so that even if he had smart impromptu to launch he would hesitate for fear of wounding, and so lose the opportunity of making a conversational score. Whistler was small, alert and waspish, and liked to sting. I have often listened to the two men sparring with their tongues, and that was the impression I derived. For the rest they were both wonderful in their way, and it was, though perhaps at the time I did not realise it, a high privilege for me to be present at their discussions. To-day I am inclided to echo Ellen Terry’s words about them.” (Sherard 302-3)

18^ Anderson is here quoting from Artur Symons, A study of Oscar Wilde, 1930, pp. 63-4. (Anderson 239 -240)

19^ Anderson is here quoting from Frank Harris, Contemporary Portraits, 1915, pp. 103 (Anderson 240)

20^ Ibid

21^ Wilde met with his later biographer Sherard (1861-1943) first time probably in 1883 “ One person who assisted settling into Paris was a young Englishman scarcely twenty-one, name Robert Harborough Sherard.” (Ellmann 213 and also Belford 116) Sherard, great-grandson of Wordsworth, later wrote five book about Wilde.

22^ Pearce’s term (Pearce 132)

23^ As Anderson mentions opera was played first time at the newly built Savoy theatre on 10 October 1881, not far away from Tite Street, were both artsits lived. (Anderson 246) According Ellmann the inhabitants of Tite street became ‘the talk of London’. First attempt was The Grasshopper played at the opening of the Grosvenor Gallery in 1877 and as models for three persons there were used Wilde, Whistler and Miles. Next one was the play Where is the Cat?, Adaptation from German source, introduced in 1880. and another was The Colonel with the character of an aesthete ‘with Wilde’s mannerism.’ The most known is Patience which opened on 23 April 1881. Wilde knew that he took him off and attended the first night. (Ellmann 134)

24^ Patience (Opera). Web. 17 July 2018 . Minute 31 – 35, https://www.youtube.com/watch?v=HvqrlgwqlHs

25^ There is no unity the originals identification for both opera’s characters. But they are definitely inspired by more aesthetes of this time. For example Pearce claims: “W.S.Gilbert’s libretto parodied the aesthetic movement, drawing all its leading figures into the composite characterization of the opera’s two aesthetes”(Pearce 132). According Ellmann “Gilbert wanted his aesthetes to be composites, though he could scarcely ignore Wilde as the most conspicious representative.” (Ellmann 135) According Pennels “Bunthorne, who was Wilde, appeared with Whistler's black curls and white lock, moustache, tuft, eye-glass, and laughed with Whistler's "Ha ha!" (Pennel 229)

26^ As Alexander describes Aesthetic movement definitely ended by nineties: “The Aesthetic phase gave way in the 1890s to a decade called Decadent by the poet Artur Symons, a decade indelibly associated with the illustrations of Aubrey Beardsley (1872-1898), the literary journal ‘The Yellow Book’, and with Oscar Wilde, imprisoned for homosexuality offences in 1895.” (Alexander 312)

27^ As Alexander claims “Wilde was then send by D’Oyly Carte on a lecture tour of the USA to be, in the words of Max Beerbohm, ‘ a sandwich board for Patience’ ” (Alexander 314)

28^ Later was the title of the lecture changed to “The Artistic Character of English Renaissance” and even later to “The English Renaissance.”, which was inspired by Walter Pater’s book. “Wilde used ‘renaisssance’ with eloquent vagueness, allowing room in it for Ruskin, Pater, the Pre-Raphaelites, Whistler, and himself.” As it later turned out that the first lecture is already available in print on some newspapers Wilde added new lectures “The House Beautiful” (the phrase borrowed from Pater) and “The Decorative Arts”. ( Ellmann 156-7, 192-3)

29^ Anderson, is here quoting from Hart-Davis, Ruppert, editor. The Letters of Oscar Wilde. London: Hart-Davis, New York Harcourt. pp.121. (Anderson 247)

30^ Ellmann, quotes from Rodd, Social and Diplomatic Memories,2 2-5. And comments on the bottom of the page: “Ever since the libel suit against Ruskin, in which Burne-Jones had testified on Ruskin’s side, Whistler had always said that Burne-Jones knew nothing about painting.” (Ellmann 156)

31^ Ellmann quotes from New York World, 3 Jan 1882. (Ellmann 155-6) Another story related to Whistler is from his lecture to the miners in the Rocky Mountains. Wilde “described one of Whistler’s nocturnes in blue and gold. ‘ Then they leaped to their feet and in their grand simple style swore that such things should not be. Some of the younger ones pulled their revolvers out and left hurriedly to see if Jimmy was “prowling about the saloons.” (Ellmann 160) Another Ellmann’s quote is from Hart-Davis, Ruppert, editor. The Letters of Oscar Wilde. London: Hart-Davis, New York Harcourt. pp. 119: “When Wilde amused was describing this visit to Whistler, he wrote him: “ ‘I have already civilised America – il reste seulement le ciel!’ ” (Ellmann 204-5)

32^ Pearce quotes from Omaha Weekly Herald, 24 March 1882 (Pearce 144)

33^ Pearce quotes from Daily Examiner, 27 March 1882 (Pearce 145)

34^ Ellmann refers to Seitz, Don C.. Whistler Stories. New York.1913. pp. 66-67; Pearson, Life of O.W., pp. 96. (Ellmann 271) Pearce mentions two first parts of the dialogue (Pearce 171). Whole three parts dialogue is in GUW: Oscar Wilde to James Whistler, [14 November 1883], GUW 11389, (2018-08-14); James Whistler to Oscar Wilde, [14 November 1883], GUW 11390, (2018-08-14); Oscar Wilde to James Whistler, [14/15 November 1883?], GUW 11024, (2018-08-14), note n.3: “The telegrams were published together in the column 'What the World Says' in the World, no. 489, vol. 19, 14 November 1883, p. 16; reprinted under the title 'A Correction' in Whistler, James McNeill, The Gentle Art of Making Enemies, London and New York, 1890, p. 66. This [last one] telegram was published in Pearson, Hesketh, The Man Whistler, London, 1952, p. 119.” (GUW)

35^ Quoted for example also in Pearce 130 or in Pennel 268.

36^ Pearce quotes from Hart-Davis, Ruppert, editor. The Letters of Oscar Wilde. London: Hart-Davis, New York Harcourt. pp.155. (Pearce 171)

37^ GUW: Whistler to Thomas Waldo Story, [20/25] May 1884, GUW 09451, (2018-07-31)

38^ Pearce quotes Morning News, 20 June 1884 (Pearce 175-6)

39^ In Gillespie’s book is as a source used Hyde, H.M. The Trials of Wilde. Dover, 1956, 1973, pp.121-33 (“Art versus morality” 382-388)

40^ Ellmann mentions that Wilde and Painter Frank Miles lived here already earlie. They shared from 1879 the house on Salisbury street, which Wilde called “Thames house, since they had a view of the river.” (Ellmann 109) “Thames house offered a kind of salon. The ‘P.B.s’ (Professional Bauties) whom Miles sketched were frequent visitors, along with artists such as Whistler and Buren-Jones, actors and actresses, even the prince of Wales.“ (Ellmann 110) One of these P.B.s was Lillie Langtry. Also Whistler wanted to paint her and Wilde had her portrait from Edward John Poynter “displayed on the easel at the end of his sitting room.” (Ellmann 111) At 1881 Miles and Wilde moved to Tite Street house, which was redesigned for them by the architect Edward Godwin who redesigned earlier also Whistler’s house - The White House - in the same street. (Ellmann 128) Later the same year Wilde had to move from Miles, because Miles’s father had strong objections against Wilde’s newly published Poems. Wilde’s later address is Charles Street. Ellman compares the Wilde’s departure comment: “I will never speak to you again as long as I live” to how Dorian threatens Basil Hallward: “on my word of honor I will never speak to you again as long as I live.” (Ellmann quotes here from Harris, Frank. His Life and Adventures. 1947. pp. 303; Ward, E.A. Recollections of a Savage, pp. 110-11 (Ellmann 148))

41^ Sargent’s house was on 31 Tite Street

42^ Architect Godwin lived on Tite Street as well with his wife Beatrice, who married later after his dead James McNeill Whistler.

43^ Ellmann quotes here from Sir Forbes-Robertson, Johnston. A Player under Three Reigns. 1925. pp. 110 (Ellmann 248)

44^ Barbara Belford mentions that Wilde during his second trip to America in 1883 “posed for a life -size portrait by Harper Pennington that must have pleased him, for he looked succesful and Balyacian, right dow to the ivory walking stick.” (Belford 120) This Pennington portrait was first time exhibited in Britain in 2017 at the exhibition Queer British Art 1861-1967. “The portrait was painted by the US artist Robert Goodloe Harper Pennington and presented to Wilde and his wife, Constance, as a wedding present in 1884. Unsurprisingly, Wilde loved it. It was the couple’s most prized possession and hung above the fireplace in their Chelsea home during the good years.” (Oscar Wilde portrait to have first UK exhibition) According Frankel “The portrait adorned the walls of Wilde’s Tite Street home up until the bailiff’s sale of Wilde’s possessions in April 1895, whereupon it was bought and kept by his friends Ada and Ernest Leverson. Wilde later called the portrait a ‘social incubus’. One week before his release from prison in 1897 Wilde tried through friends to rent a small room where the portrait could be safely stored and hidden from public view.” (Frankel 125)

45^ The White house was afterwards purchased by the art critic Harry Quilter. (Anderson 314)

46^ In 1885 Beatrice separated from her husband. Godwin died in 1886. Beatrice married Whistler on 11 August 1888 Shortly till 1889 they lived in Tower House on Tite Street, from where they moved to Cheyne Walk, in Chelsea, London, and later to Paris. (Beatrice Whistler)

47^ According Ellmann “Fortunatelly, in the spring Colonel Morse, D’Olyly Carte’s former lecture manager, turned up in London, representing J.M. Stoddart, the Philadeplhia publisher, as agent for the Encyclopedia Americana and other books. Wilde called on him in mid-June and asked if he could arrange a lecture tour of the British Isles for an old client. Morse agreed to undertake it as a sideline. … [Wilde] offered two lectures, one batering ‘Personal Impressions of America’, and one messianic, ‘The House Beautifull’. The first lecture would be given in London … While arrangements were being made, Wilde was invited by Eric-Forbes Robertson to lecture to the students of the Royal Academy and accepted. Whistler, envying an invitation, which he would like to have had an opportunity to refuse, was quick with suggestions for what Wilde might say as his St.John.” (Ellmann 239)

48^ Wilde did part of what Whistler wanted as “Whistler’s originality lay principially in the tartness of his expression, rather than in content” and Wilde also “proclaimed the supremacy of Whistler in practice [over Ruskin].” (Ellmann 238)

49^ Ellmann qoutes from The Globe, London, 2 July 1882 and Lady Pictorial, 7 July 1883 (Ellmann 239)

50^ In similar way it is described by Pennels: “Mr. Herbert Vivian tells the story of a dinner given by Whistler after Wilde had been lecturing: "'Now, Oscar, tell us what you said to them,'Whistler kept insisting, and Wilde had to repeat all the phrases, while Whistler rose and made solemn bows, with his hand across his breast, in mock acceptance of his guests' applause. ” (Pennel 227-8)

51^ Ellmann quotes form York Herald, 10 Oct 1884. Wilde is against the current fashion and is inclined to Grecian (or also Assyrians and Egyptians) - according his words ‘healthier’ - dress. (Ellmann 262)

52^ James Whistler to Edmund Yates, Juli/Spetember 1887, GUW 07118, (2018-08-03) (GUW) Edmund Yates was editor of The World.

53^ According Anderson Whistler asked for advise Archibald Forbes, who despised Wilde and vice versa. The row between them began in 1882 while both of them were lecturing in the United States. “Forbes had been affronted by Wilde’s dress and general demenaour, while Wilde saw Forbes as a boring old war journalist.” (Anderson 263) Ellmann points out that behind Whistler’s decision to give the lecture was the fact that he “had begun to cherisch resentment of Wilde ever since the speech to the art students of the Royal Academy. Although at the time he had offered his suggestions freely enough, he disliked hearing Wilde credited with ideas he regarded as his own. Worse still, Wilde had a way of not sticking to Whistler’s script. He was as apt to correct the master as to copy him. So Whistler decided to do something unprecedented to him, and give a lecture himself. Archibald Forbes, that old enemy of Wilde, was consulted, and introduced Whistler to Mrs D’Oyly Carte. She arranged for him to lecture in the Princes’s Hall, where Wilde had delivered his “impressions of America’ to the audience that included Whistler. … To make clear the singularity of the occasion, Whistler scheduled the lecture at the unheard-of time of ten o’clock, on the evening of 20 February 1885. … A good deal of what became known as ‘Mr Whistler’s Ten o’Clock’ was devoted to scoffing at Wilde. (Ellmann 271) Anderson further comments that Whistler was helped in preparation nof his lecture by Walter Sickert.” (Anderson 265) and he lists the guests of the lecture. “Wilde who traveled back from his lecture tour in Scotland, was seated with his wife Constance in the centre block of row six, placed strategically for the impending assault.” (266)

54^ But also Wilde is in doubts about aestheticism: “Wilde’s boredom with his old-style aestheticism surfaced in a letter to the T.H.Escott, editor of The World, early in 1885. After considering Escott’s proposal that he should write an essay on aestheticism, Wilde replied that he was a little in doubt about the subject.” (Pearce quotes from Oscar Wilde, letter to T. H. Escott, undated (early 1885), manuscript Department, British Library. (Pearce 188)

55^ Oscar Wilde’s immediate reaction in The Pall Mall Gazette was according Anderson very probably prepared in ahead: “What Wilde had almost certainly done was to request the space beforehand from the editor, make the notes during the lecture, and then flesh out the article late into the night so that it could be delivered to the typesetters very early in the morning. Wilde’s review was a briliant piece of writting under presure. What must have irked James most as he read over the piece, was that the lecture, despite its obvious and sustained attack on Wilde, had failed to ignite the reaction he so badly wanted. Instead, Wilde had turned the tables completely by combining lavish praise for James’s presentation with incisive critical rebuke of what he perceived as fundamentally flawed argument.” (Anderson 296)

56^ In Wilde v Whistler 5 is published the article from Pall Mall Gazette 21 February 1885.

57^ According Pearce who uses as a source Hart-Davis, Ruppert, editor. The Letters of Oscar Wilde. London: Hart-Davis, New York Harcourt. pp. 170-1. (Pearce 190)

58^ The hadline was ‘Tenderness in Tite Street’ (Wilde v Whistler 10). The article is quoted also for example by Pearce who uses as a source Hart-Davis, Ruppert, editor. The Letters of Oscar Wilde. London: Hart-Davis, New York Harcourt. pp. 170-1. (Pearce 190). Also in GUW ’James Whistler to Oscar Wilde, 21 February 1885, GUW 11405, (2018-08-03)’.

59^ Also mentioned by Anderson 271.

60^ Ellmann quotes from Hart-Davis, Ruppert, editor. The Letters of Oscar Wilde. London: Hart-Davis, New York Harcourt. pp.170-1. (Ellmann 273) Also in GUW: ’Oscar Wilde to James Whistler, 22/23 February 1885, GUL 1046, GUW 07057, (2018-08-03)’ and Wilde v Whistler 11 (slightly different wording) and partly also Anderson 271.

61^ Also in GUW: ’James Whistler to Oscar Wilde, 24/28 February 1885, GUL 1047, GUW 07058, (2018-08-03)’, with a bit different wording.

62^ Sammells mentions (quoting from Wilde’s “The Artist as Critic” 17): "For Whistler, according to Wilde, there is nothing of which the ordinary English painter more needs to be reminded that the true artist does not wait for life to be made picturesque for him, but sees life under picturesque conditions always - under conditions, which are at once new and beautiful. (Sammells 29-30)

Nature versus Art topic is described more here bellow in the chapter „Nature and Art in The Picture of Dorian Gray.“

63^ Art critic Harry Quilter purchased the Tite Stree White house where Whistler lived in the seventies before the Trial with Ruskin. Wilde alo loathed Quilter even probably less then Whistler. (Anderson 314) According Ellmann during Wilde’s Journalistic career from the middle of eighties one of writers who became target of Wilde’s critical antagonism was “Harry Quilter, well known for his art criticism. Quilter had fulminated in newspaper leaders against the aesthetic movement, and defended Ruskin’s views against Whistler’s. He dared to buy, he even dared to reconstruct, Whistler’s White House in Tite Street, which Godwin had designed and Whistler adorned. Wilde dealt merrily with Quilter as a ‘jolly’ art critic: “Wit the present tendencies of decorative art in England Mr Quilter … has but little sympathy, and he makes a gallant appeal to the British householder to stand no more nonsense. Let the honest fellow, he says, on his return from his counting-house tear down the Persian hangings.’ (Wilde was busy putting them up in his own Tite Street house.) ‘Mr. Quilter is quite earnest in his endeavours to elevate art to the dignity of manual labour.’ ” (Ellmann 263-4)

64^ Ellmann 274 quotes from Hart-Davis, Ruppert, editor. The Letters of Oscar Wilde. London: Hart-Davis, New York Harcourt. pp.191 and ‘Mr.Oscar Wilde at Mr Whistler’s , The Bat, 29 Nov 1887. Also Wilde v Whistler 12.

65^ Also in Wilde v Whistler 12.

66^ Also in Wilde v Whistler 13.

67^ Ellmann quotes from Hart-Davis, Ruppert (ed.). The Letters of Oscar Wilde. London: Hart-Davis, New York Harcourt. pp.191 and ‘Mr.Oscar Wilde at Mr Whistler’s, The Bat, 29 Nov 1887. (Ellmann 274). Also in Pearce 190 and Wilde v Whistler 13. Sherard is quoting letters also and adding his own opinion: “I never have been able to make up with my mind wheter Oscar Wilde was indeed qualified to speak as a critic of art-of pictures, that is to say-or wheter he postured-as Whistler accuse him brutally of doing-as knowing a subject on which he was no better informed than you or I.” (Sherard 244) and ”I have often wondered since why Oscar Wilde, if it be true that he was not qualified to speak on pictures, should have made the pretence to such knowledge. I know that all his life he was interested in art. He was a clever draughtsman. In an admirable letter written from Portora School to his mother, when he was about fourteen years of age, in which, while asking her for some abstruse quarterly review (the very last thing one would have expected a fourteen-year-old schoolboy to desire), and commenting on the colour of some flannel shirts that his mother had sent him, he send her a caricature, very skillfully done ...” (Sherard 245)

68^ Elllman quotes from Pall Mall Gazette, 26 January 1889. (Elllman 287)

69^ Whistler was awarded together with Edward Burne Jones and John Singer Sargent with “the cross of ‘Chevalier de L’Ordre National de la Légion d’Honneur’. (Anderson 315)

70^ This part in brackets is only in Wilde v Whistler 15.

71^ Anderson quotes from Truth, 2 January 1890. (Anderson, 316)

In Wilde v Whistler 15-6 there is one additional letter attached to this article: “

“Oscar, you have been down the area again I see!

I had forgotten you, and so allowed your hair to grow over the sore place. And now, while I looked the other way, you have stolen your own scalp! And potted it in more of your pudding.

Labby has pointed out that, for the detected plagiarist, there is still one way to self respect, (beside hanging himself, of course), and that is for him boldly to declare: "Je prends mon bien là où je le trouve" „You Oscar can go further, and, with fresh effrontery that will bring you the envy of all criminal confrères, unblushingly boast: "Moi je prends son bien, là où je le trouve!’ ” (Also in GUW: ’James Whistler to Oscar Wilde, 24/28 February 1885, GUW 11715, (2018-08-03)

72^ Pearce quotes from Truth 9 January 1890. (Pearce 192) Also in Wilde v Whistler 17 or Anderson quoting from Hart-Davis, Ruppert, editor. The Letters of Oscar Wilde. London: Hart-Davis, New York Harcourt. p.253-4. (Anderson 317) All three letters published also in Whistler, James McNeill, The Gentle Art of Making Enemies, London, 1890, pp. 239-40, under the heading 'In the Market Place'. Last, JW reply is from 16 January 1890 to Truth. See also Hart-Davis, Ruppert and Holland, Merlin, editors. The Complete Letters of Oscar Wilde. New York: Henry Holt, 2000, pp. 418-20. as mentioned in GUW.

73^ More info in the chapter ‘Murder’ bellow.

74^ Wilde v Whistler 18-19. Also in GUW: ‘James Whistler to Henry Labouchere, 16 January 1890, GUW 11421, (2018-08-03)’ Reprinted in the Whistler‘s , James McNeill, The Gentle Art of Making Enemies, London, 1890, pp. 241-42, under the heading 'Panic'. See also Hart-Davis, Ruppert and Holland, Merlin, editors. The Complete Letters of Oscar Wilde. New York: Henry Holt, 2000, pp. 418-20.

In Wilde v Whistler 20 there is one more additional letter: where Whistler writes to Wilde:

“OSCAR- How dare you! What means this disguise?

Restore those things to Nathan's, and never again let me find you masquerading the streets of my Chelsea in the combined costumes of Kossuth and Mr. Mantalini!” Wilde v Whistler 20. Also in GUW: 'James Whistler to Oscar Wilde, 1889/1890?, GUW 11422, (2018-08-03)’.

75^ Anderson quotes from GUL (Rosalind Birme Philip Bequest, Special Collections, University of Glasgow [GUL], pp. 586 (Anderson 334)

76^ In GUW: ‘James Whistler to Stéphane Mallarmé, 19 January 1890, GUL M127, GUW 03793, (2018-08-03)

77^ As Anderson mentions in notes: “By the 1860s the average price for a small portrait photograph was one shilling. In London alone, by 1861, over 200 photographic studios existed”. From.Scharf, A. Art and Photography. 1961. pp.20-1. (Anderson 488)

78^ Sherard also mentions that he once met the portrait painter John Sargent at Wilde’s house. (Sherard 204)

79^ Frankel quotes here Barlow, Paul. Facing the Past and Present: the National Portrait Gallery and the Search for ‘Authentic’ Portraiture. (Frankel 125)

80^ In “Art versus morality” is quoted Wilde from Hyde, H.M. The Trials of Wilde. Dover, 1956, 1973. pp. 121-33 “Art versus morality” 386)

81^ Published first time in July 1889 in London, in Blackwood’ s Edinburgh Magazine. The enlarged text printed only in 1921. (Gillespie 386)

82^ According Frankel “Dorian’s preoccupation with the portrait as “evidence: echoes the obsessive efforts of Wilde’s narrator in “The Portait of Mr.W.H.” to provide independent corroborating evidence of the existence of a boy actor with whom Shakespeare was allegedly in love. Without the physical proof of the portrait, the existence of the boy actor – and thus the true nature of Shakespeare’s love - remains open to question since it can only be inferred Shakesepare’s sonnets themselves.” (Frankel 250)

83^ Dorian Gray was also 17 when painted by Basil Hallward and also the portrait in Dorian Gray is the full-length portrait.

84^ In The Picture of Dorian Gray there is also mentioned the chest - an Italian cassone - when Basil first time enter the room where Dorian is hiding the painting which is already changed.

85^ Again possible connection with the room where Dorian stores his portrait. “The room looked as if it had not been lived in for years. A faded Flemish tapestry, a curtained picture, an old Italian cassone and almost empty bookcase-that was all it seemed to contain, besides a chair and a table. As Dorian Gray was lighting a half-burned candle that was standing on the mantelshelf, he saw that the whole place was covered with dust.” (Wilde 130)

86^ Even I did not encounter in the literature any attempt to find the original for of Edward Merton I see one connection to The Picture of Dorian Gray. The girl which appears almost at the end of the novel and means last chance to save Dorian’s life and soul is called Hetty Merton. Dorian miss this opportunity.

Hetty and Edward have the same surname and both are poor.

87^ According Sammells “Dorian himself, Wilde tells us, used to wonder at the shallow psychology of those who conceive the Ego i na man a a thing simple, permanent, reliable, and of one essence. To him, man was a being with myriad lives and myriad sensations, a complex, multiform creature that bore within itself strange legacies of thought and passion ... ” (Sammells 38)

88^ Sammells quotes from Wilde‘s The Portrait of Mr.W.H.