The Indianapolis journal. [volume] (Indianapolis [Ind.]) 1867-1904, 1885-06-13
THE ARTISTS MODEL.
Shall the Woman whe Poses for an Artist
Friend be Forced Into Publicity.

Friend be Forced Into Publicity.
Eew York Commercial Advertiser
The case of the La Fargo Decorative Art
Company against John La Fargs, .ne ar.is.
which was to have been continued before justice
German in the Jefferson market ponce court
this morning., was adjourned until June Y, In
the Essex market police court
AS the case now stands, artists and others who
are conversant with the rules governing
the posing of models do not hesitate to
exnress contempt for the prosecution
The defence hold that only the result of Mr..
La Farge's work belongs to the Decorative Art
Company, not the means by which it was pro-
duced Mr. La Fargo said, this morning: ANY
one who would attempt to brny such a case
into the courts of Paris Rome or any other
European city in which artists are more numer-
Gus than here, would be ridiculed by the mem
bers Of the profession and by the bar. lnere
the matter is thoroughly understood, and no
eounsel could be obtained who would take a case
Of this kind
The question of the relations between artists
and their models is one not only Of great inter
est socially. butextremely interesting profession
ally. There are perhaps, hundred persons IN
this city who derive their livelihood entirely
from their occupation as models. They are not
AL personifcations of grace and beauty, as might
be expected by the laity. Some of them are
phenomenally ugly. yet all have about them one
thing or set of things which are requisite in
art They also have the ability to remain IN
given position longer time than a person who
mad not Deen Jralneu IN the school OF lH6 drtlStS
model could conceive possible. These persons
are employed by the artists and art schools, and
are paid from thirty-five to fifty cents an hour,
or 81 day when engaged for any long period.
In this way they can earn fairly good income
1t Is the accepted idea among persons who are
outside the circle Of artists, that woman model
is necessarily person of 'clouded antecedents,
and blemished reputation. Nothing could be
more untrue or damaging, alike to the artist and
the honest woman who seeks honest employ
III. IL - pf
good reputation and character Posing has
with the growth of art become a profession
Children are born to it. They pose while infants
It is safe to say that there are families of mod
els. who have other source of livelihood yet
who are as honest and reputable anybody
anywhere. The daughters marry, and prolong
The race of artists models indefinitely.
model who is disposed TO be disreputable is
an injury to the artist 1t is demoralzing to
have person of that sort in ones studio. The
result is simply that bad characters among the
models are weeded out They become known.
One artist tells another that such or such an one
is not trustworthy, and source OF income is
Immediately closed to him or her. Models for
studios in the nude are used most generally in
the schools. There no temptation is offered
simply because of the publicity of the posing
Figure painters are compelled to use nude
models to certain degree, but the professional
sentiment which exists between the artist and
model rarely gives place to anything else.
There is one model who poses before one of our
most famous American sculptors who has been
endowed with a wonderfully beautiful form, yet
her face is a severe commentary on the eccen-
tricities of human beauty. This woman is emf
nenSly respectable and is the mother of a fam
lily. Another well-known model is IN every re-
spect woman Of cultivation and refinement
Her husband failed in business and became
paralytic. His wife, through the advice of an
artist friend, became model, and now supports
herself and him.
Every artist has lady friends--women whom
he has met in the society which he may fire.
quent, and who willing to lend him any as
sistance in their power in serving as draped
models for his pictures. The rule follows
in the case of women of the best society who are
content, under bond of the strictest secrecy, to
lend themselves to the completion of a paint
ing. This may or may not be objected to by
husbands or fathers. Tho woman has conf
dence in the gentlemanly faith of the artist, and
consents to become his model Cases where this
has occurred are we'll known to every artist
But among themselves, and even among their
most intimate unprofessional friends, they OBJ
serve the silence of the Sphinx.
The professional model, trained to her work,
offers the best opportunity to the artist. She
can withstand fatigue, and can remain in given
pose without moving for an hour or more. She
can be commanded or chidden as occasion may
arise. She is also able to assist an artist, some
times to remarkable extent, by suggestions
about the propriety of such and such fold, or
the repose of such and such drapery.
Mr. La Farge's case is peculiar one, inasmuch
as 1t has TO do with an unprofessional model a
personal friend of the artist, who for reasons of
her own, consented to assist him in posing for a
study. AS rule professional models decline
to be photographed. Not from any acute
feeling of delicacy, but simply because
photography interferes with their bust
ness. If an artist has complete
set of photographs in his cabinet, he can, to
great extent, do without the services of the
model. For this reason the model objects to
being photographed But even when photo
graphed the model has decided and unyieldine
dissemination to having the picture shown to
persons who are not within her narrow circle of
acquaintances. She grants the privilege of
taking photographs with the distinct understand
ing that they shall be used for no other than q
professional purpose.
There is not an artist in the city who would
consent to make public property or to allow to
leave his own studio photograph of some
friendly woman, who, to oblige him. has con-
scented to pose for him. The effort which is
being made to compel Mr.. La Fargo to do this is
regarded as direct infringement of professional
iOhf