Vermont phÅ“nix. [volume] (Brattleboro, Vt.) 1834-1955, 1888-05-18

ABOUT A BRArrLEBoRo BOY.
As ArrRECIAr1vE CRITICISM o. H. &c. HARnIE '.
WORK As PORTRAIT PAINTER.
From the Boston Suudny Herald

As ArrRECtATIvE CRITICISM 90 H. G. HAnBiE's
WORK As A PORTRAIT FAINTER
From the Boston sunday Herald
Mr. Rphcrt Gordon HAIRLESS portrait II Mr.
James II B"al. which the artist came from New
York To paint on commission from TIN. Second
national bank has been for the past week -xhib-
tied at Nr~srs. Doll a Richards aud 1t will con
tiuue there for the present The mixture r..t,f,4.
-ents full length Hplrc sitting l.-sidr q mnhug
any tahlr. upon which arr writing materials The
fdcr and body are presented IN fun front view
one firm hand neryuusy toys with AN eve. glass
and the other rests. closely held tug,.t her upou
thr ltit leg. ~" tone Of the picture Throughout
is spts'r aud the appearance AMI attitude u the
man Indicate the alrrtut-Ss. nratutSs aud manner
Of one who las achieved position and succ..ss
The artist has s''il'i th,--. ch ra,tristr duati,,
in his sitter aud presented them with exceptional
furce. ht-ralnrsS and guOl TASTE. The draw ng
hud m%lthhg ~ the figure arr admirable. pre-
else AMI correct. uud the painting h -4gtrtsN less
sppl iu "A mechanical sense. From this stand.
point II is "a well conceived portrait most evenly
executed. aud with several r,.tnarkalIa points
such As the rendering II the texture, Of the
clothes, tahl", etc, ami the way Ia which all th,.
minor parts ~ the figure and their atc,.s-,ri,.-
keep their place, iu due refinement The latrk-
ground dnd hpor are handled skilfully. and sur
round aud give quality tu the head and hgur-
me artist has given unlu" emphasis IL seems a.
MS, 10 the sharpness and rtfutsu.tn,. nf his sit
| Ter. In treating an uniinasiuativt subject in a
thoroughly uniiuugiuativr way hr has failed tp
cNcit" an Interest iu both II and himself that IS
lu lH'r~"nS una'1IIaintrt with the original ct the
pcInrr ImN may d. great deal &" ask ~
| portrait but when Ne have ~ gp4Iu work t.4hui-
I L As for
| norr and for th.S'. NJ higher order
We should like To- 49,. something Of the nrtist
himself u his picture. beside that ~ -kilful ma
uUulatilu; We should lk,. To- see. -.truatbiug ull,
ui the charm of color than this brown ,llp.ru,4-~
. ui tone. mriuns To- GOODNESS We should like Jess
300 tact. ui the lt"ralur~> which j. almost photo.
graphic Whom PDtur' $50 thunYuEhN modern
100 ll7 -'A To- Is 80 Well pluii % is natural tu place
d % iu comparison with the Ola examines IT ts.r
. trature which ha'" hrld their place, a~ models lu
I hrtt -" many yrhr~ The modern purtrait- ARE
often lttcr done lu ttsI -t tn technique, tut they
cannot -tinl THE ru'ulair~-tu u-Nrrf Ntit.~~ Tie.
artist put So much 81 himself Iu the. work that
however small the claim If tn, sitter might h. 10
our SNmpathirs the artist has COMPELLED our ia.
terNt 10 his plriur. and our adu alton Tor d.
ms mastery Of color or IT h-hf and shade. his
interest 10 character and his delight iu portray
INK -"h" or all ~ thrs' qualities envelope ti,.
great portraits with au atmosphere attractive
thAt the subject l. invested With "a double dignity
and an outside interest The artist makes a. h..
lirNr that W. have lost something iu not having
known such personality AS h- has described This
power over mind Is th, highest rudo, ni-ut Of
lhr artist u is ideal and remote, from and above.
the purely meclauiual The artist Who ur.i-lV
describes, seeing No. NOR than the upliuar, oh
SNet gives us literal, realistic art but he Whn
dt-scfih's his own Impressions ~ that w. r,-,ps.
ME tl' stronger light in which hr dw-lls. give,
~ a glimpse into that unreal. imaginative. world
which j. the natural environment uf genius
I whoever visits tie. country with which th.. poet
ana i"'nancist haN" made famous must have his
eyes ol-n O. thu fact TINT tn. magic sIb-l of pot
&C. vision Is wanting 50 uf TN. artist We have
the right io expect that he will give sinl,dhing ct
Nv "N % thought a. Wen As TIE superficial rhafur
. Ter "i his sitter something uf that power which
SlN'N 10 pros ihr charm ~ poetry. iiut the ten.
idea
French teaching iu art striv,~ g." cleVat.. the
. commonplace" Us describing % with th,. utiu,s-t
laithiulu'es- Every example. however. which
comes o. and the mur,. clever the mon. pru.
/ nuuu,7d the lack upIT'tr~ puly s-nis t1 prove.
nov luth- is tine effort Tho French Iaint.i~ an.
dsterIn n'-d O. bring au lufu o. th. ,-umpr,-iitu
SION ui The nHu>, for rrali,ii- painting has moth
ing u nprts~ tn inspire. To- tl-l ate 10 j. clever
nut u u sOulr~> uul 10 canned live in the memory
| an hour aft-r 30 has gone from sight SIR HnrIt
= a nupl ut aatu'l though nm. tone and other
ientu1S ui his painting would s+-u e. prove that
b" had stabbed and followed the work ~ B,urai
/ But whoever ha~ l-,.u hi- utt~t,r. hi, p,.turr
proves That he has i-su faithful and Intelligent
student, and has evidently learned all that do.
III ~ LL-n LlILe uL-L-l.-r. LLLLI.-Lrt