, 1885-11-29
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Z, ,ns lxetalio' "a y d~tt'r.ani
osas ,an--
u W Yok i N
In the audience at tho Union sqrlrs
h a,tre the other evening was u yo ma :
nan who excited the interest Of tnI,s
rear him by transferring 10 a book
which he held on his lap rough sketches
)f several people sitting in different plris
Of the. orchestra The rough sketches
we're not so bad, either. but that several
ladies' sitting directly behind tho artis..
after glancing over his shoulder, could
look into the crowd and in many casci
pick out the originals. The s.etehes
varied, some being only the back Of a
head. a profile, or as one was, the heads
Of three little misses, who hid fallen to
sleep in a big chair in one OF the boxes.
A few traoings were made of Genes in
the play, but nearly all the studies were
Of persons in the audience.
The young artist became annoyed by
the attention he had attracted, and
after the third act left the theatre. a
reporter went after him. and in tho
course of a conversation induced him tn
talk OF his drawings and to show a few
OF them. For many years he had beel
in the habit of going to the theatres to
study faces, especially when the play
was one of Shakespeare's, or one in
which the muscles of an auditors face
are strongly affected by the acting that
is witnessed.
"Do your visits benefit you" asked
the reporter.
Every much, indeed. Nowhere can |
get such natural expressions IS On the
face of some one who is truly interested
in a good play. Take, for instance, the
play Of this evening, Romeo and Jul
let Here is n head, " turning over the
leaves of his sketch book rapidly.
which will make a superb Madonna.
Tho original was that Of a young girl
who sat in the same row Of seats that |
did, but who was much more deeply
interested in the play. These two
head" turning to another page, rep
resent the man and who occu-
pied that left-hand box-perhaps you
remember them-and who looked bored
to death"
do you ever try your hand on the
actors who appear in the theatres you
visitl'
Yes, and with good results. The
members of the profession are naturally
adopts at facial expression and posing,
and | get ideas from my studies of them
when they are unconscious of it that all
the workings Of my brain in the quiet
of a studio could not bring forth. Tho
twitching of the muscles Of the face,
the compressed lips, the flashing eyes
are all Of great use to an artist. They
can be obtained in the way / have
adopted much better than from any
model | ever saw.
The artist conducted the reporter to
his studio, and there showed him a
sketch book, each page Of which was
filed with faces that resembled some of
the actors and actresses who are well
known in this city.
You think those are very poor studies
Of popular actors, don't your asked the
artist. We'll, they are not, they are
merely the faces of people in the audi
ence who become so interested in a play
that they go through all the motions of
the actors. You may not believe that,
but it is true nevertheless Why | have
seen people whose faces would change
every time an actor winked his eye,
A short tour among the studios and a
little questioning showed that nearly all
the artists Of this city obtain ideas and
models during visits to the theatres.
The young girls, and old one too,
should bear this fact in mind and never
spoil their chances Of going down to
future generations as a Madonna or a
Juliet by shading their features under
Il brim Of a big hat.