The Sunday herald. [volume] (Washington [D.C.]) 1866-1887, 1885-07-19

correspondent of the London Times writes as
follows: "rhe representation OF the bare llmbs and
skin OF man Ia not only worthy subject OF art but
ia UNNECESSARILY above any other form OF art what
ever. Not only IL the human form and complexion
the most eXquisely lovely thing In nature, but The
subtle difficulties OF painting are great, and The
delight which 1t gives us when successful is SO III
tense, mat every other Kind OF Art Is distinctly
study produces in the ignorant is due the fact that
the noble painting Of the form is almost an extinct
art. II we compare gallery OF ancient masters
with Burlington House we shall see In the ancents
infinitely more careful painting OF the flesh. do
not mean that we see 80 many Venuses, Ewes, and
nymphs, but we zee figures partly undraped, an
arm or foot absolutely true and living, the blood
coursinR beneath the qniyering skin, the glow OF
health and purity with inlmitaoe life before our
"'rhe difference Is this: In modern gallery,
which are not to be found In the National Gallery
the Louvre from end to end, we have "a waSy, con-
vcntOnal painting OF the skin wherever an arm, a
bust, or u foot protrudes from those masses OF
Liberty costumes whereon the serious attention Of
the painter Ia bestowed There seem hardly ten
men in England who can draw the figure, and not
one who can paint flesh with entire mastery. Now,
1t needs veTltabe master to paint a Venus or a
Phryne emerging from the bath. Even the Presl-
dent himself dipped his magnificent creature In wal
nut juice; and MFR. POynters bather Is n lne, H:m,
true, but not q magnificent creature. Venus, au
Ev panT Of s ste epic
we saw in our galleries more OF that marvellous
texture OF modelling Of limb which, If i reach its
highest point In Ttian's Venus OF the Tribune and
his Flora ia perpetualy present In 81. Sebastian or
Bacchus, In the portrait of q Venetian lady, or 1t
may he in the feet OF Madonna In glory.
"Perhaps our painters would educate the public
better II they devoted themselves TO the more con-
slant painting Of the form and presented IL In
somewhat less ambitious modes When u man can
paint feet and hands like Raphael, or the bust like
Titan, or tile limbs of Sebastian like Francia, he
may venture on tour de Jorce OF bathers and
dancers; but he had better walt til then. Aud
always let him remember his limits OF 'ideal beauty
aud conventional practice, i Is langhable enough
20 see poor, dear old goody supposing that paint
ers present the form Az they see 1t. 1t is nearly as
Imaginable TO see young girl surprising there IS no
harm In anything natural Why, my dear g0ody
ana my dear young lady, II painters were photogra.
phers and not painters, neither yOn nor any decent
uia'i or woman could stay In Burlington House ten
minutes.
.Bui am far from clear that our painters quite
careful they might he 10 observe he conditions
" ideal beauty and conventional practice
AbrUad II IL perfectly certain that neither condition
~ respected. The ttanees, Sanas. les modtes
qnl SO griite 81 french salon deliberately violate
Eevery one Of the three canOns Of true art And
| much work OF the Van Beers aud iheir school he.
ongs 10 the class OF art ag,.inst Which late Lord
Chancellor directed u useful act. Ia the face OF
snch tendencies IN modern art II ID the duty Of all
honorable VINO love arr truly 10 reject the small
| est concession 10 the accurs.d hug"