The Salt Lake herald. [volume] (Salt Lake City [Utah]) 1870-1909, 1888-12-25

taken up the profession. After spend
II g few years in Europe and gaining
admission to the studios of celebrated
French painters, they return to New
I ork anu open studios, which ale both
magnificent ia costliness and artistic
In arrangement. Il can be said with
truth that some of these studios are
quite as interesting as the works of the
painters who occupy them. In New
York, also, several buildings have been
erected by gentlemen of wealth, who
were interested in art, for studio pur-
poses. Most of these are taken by the
weather. class mentioned, so that the
breed-Winners, the men of ability who
get their means by their profession, are
obliged to satisfy themselves with less
preter tious quarters. There are, how.
ever, exceptions to this rule, as in the
case of Chase, perhaps the best known
of the younger American painters in
New York. He has magnificent stu
dio in a Tenth Street building. 1t is
| filled with curios and interesting and
valuable works of art, picked up in
various quarters of the world, where he
has been. His studio is perhaps as in
terestipg as any in the city.
ARTISTS SOCIALLY.
Socially, American artists have not
in this country the marked distinction
enjoyed by their brethren of reputation
in England and in English society. A
mans social position in New York Is
not particularly enhanced by his pro-
fession as painter, whereas, it is quite
different in England. There, artists of
reputation are received in the homes of
the most distinguished men of the
country. They have precedence over
actors, singers, and the men of any
profession. Such artists as j. E Millais
and Sir Frederick Leighton, president
of the Royal Academy, are to be met
with at the receptions of the most dis
tinguished of the nobility. Many Eng
fish artists have very beautiful homes.
Invits tons to their entertainments are
eagerly sought after, and those of
them who have standing sell their works
only through agents.
There are American artists who
have been fort mate enough to
marry the daughters of wealthy
in a style agreeable to the merits of
their profession and corresponding to
that of wealthy men in other pursuits.
Apart from this, however, American
artists have yet failed of the recognition
and precedence accorded the English
painter.
GEORGE HEALY's SUCCESS.
The history of some of the most
Celebrated American artists is very
interesting. George Healy. who
painted the portrait of Webster in his
reply to Haynes, now in F'anueil Hall,
Boston, was the son of poor parents in
30 ton, and was first an apprentice to
a confectinner. Having shown some
skill taste and aptitude for coloring,Ihe
was assigned to the coloring of small
figures which adorn the tops of cakes
for wedding purposes and the like. He
became very skillful, and is said to have
reproduced the face of girl employed
in the shops. So good was the likeness
that it attracted the attention of the
proprietor of the establishment,
who told him that he was
in the wrong place, and that he
should study painting and become an
artist. Encouraged by this, his parents
apprenticed MIN to sign painter In
his leisure hours he made copies of en-
cravings OF such painting as fell in his
way 4hCA SOhO1o ACO w SOU u - DIS d
portrait painter. He took a studio, but
did not prosper. The rent fell due and
he was unable to meet it. The agent of
the building reported the fact to the
owner, who, being of a kindly nature
and friendly to art, said, do not
trouble him, I'll go and see him my
self" He did. Hewa5 interested. and
said to Healy, You may paint my pic
ture. If YOU are successful YOU |
shall paint my wife's picture"
The young artist, delighted at
the opportunity, did the work and it so
pleased the gentleman that he profered |
to help Healy in any way he could. |
Healy told him that he would like to
paint the picture OF Madam Gray o is,
then the reigning beatty of Boston. The |
gentleman toll him that he knew |
Madam Gray Otis very well and he
would speak to her about it. Some !
time after the beauty gave Healy a |
sitting. The first picture was failure,
but the subject seeing how mortified |
be was consen ed to sit again. |
The result of the second effort was
more than satisfactory. The picture |
was exhibited in the Atheneum 1t
attracted the widest attention and !
was pronounced success. Then
VI WAtuSouIotu, q H6hlIuy SouGloudu,
money to sen Healy and
George L Brown, afterwards very
famous painter, to Paris to pursue |
their studies in art. Healy, being
Roman Catholic, took with him let
ter of introduction from the Bishop of |
Boston to the Archbishop of Paris.
As Americans, and especially Amer
lean artists. were by no means COM
mon in Europe at that time, the
Archbishop took special interest in
young Healy. He consented to sit to him
for his portrait. The picture was ex-
hibited IN SALON. and, as custom
airy the King visited the ex-
hibition at the opening day.
The Archbishop told Healy to stand
near the portrait and if it, attracted the
attention of the King, he would en-
deavor to secure an introduction for
him. HeaIy did as he was told, and
when the King arrived in front of the
picture, the Archbishop called his at
tention to it. Phillip was astonished
to find that an American could paint
such picture. as in those days, Ameri
cans were looked upon as little better
|