Bismarck weekly tribune., 1888-10-19
COPYING PICTURES.
HOW THE OLD MASTERS, GREAT
PAINTINGS ARE REPRODUCED.

Soenes in tho Art Galleries Of the Old
world-Artists as work-Methods Of
Copying-Ladies Who Study High Art.
Restrictions.
Whether it is preferable to purchase an
original picture for a certain sum, or fu- the
like money to obtain a good copy of a mas
terpieoe of ancient art, Is question admit
ting Of much debate. To many the word
''copy" is held in detestation. There are
others to whom the old masters are marvels
when seen as originals in the galleries Of
some large city, but who do not think re-
production of much value. Again, there are
Q few lovers Of art who, unable to have the
actual picture they admire, are willing to
pay handsomely for good copy. Occasion
ally wealthy tourist, also, is struck by the
wonderful correctness with which certain
picture is being reproduced, and offers the
artist good round sum for his work. II not
already sold, the money is gladly accepted
and the tourist goes on his way rejoicing,
and ever afterward tells the tale of how he
knew q good picture when he saw it. Besides
these two above mentioned buyers, dealers
arc the men on whom copyists have mostly
10 depend
ON COPYING DAY.
Its very curious sight on copying day
at any of the large European treasure houses
to wander about the galleries and observe
the numbers engaged at their work. Not
less interesting is it to study the character
istics of the crowd. Old men and maidens.
young men and few children, with an
occasional old maid or two thrown in, are all
to be found there Here an old man-maybe
disappointed artist-with rusty clothes, is
doing his best to make telling picture
from Raphael. Before another great work
sprightly young artist has planted his easel
and canvas, and by the vigorous work he is
doing shows that his life will not be doomed
to perpetual existence of copying. he
probably, like that young girl over there
transferring Velasquez to her canvas, is
working two or three days week to make
money either to continue his studies or
supply models for his own pictures which
are to take honors at Burlington house, the
Salon or elsewhere. Then there are the
regular copyists who make this reproducing
of pictures their sole occupation of life,
having to sell mostly to the dealers, but ever
ready to make better sale with an outside
purchaser. Children, accompanied by
adults, are also to be found trying to copy
in pencil and occasionally in color, and these,
with those who study for pleasure or instruc-
tion by copying from the great masters,
close the list of the many beings who thus
pass some of their time.
A large number Of people think that to
copy a picture is comparatively an easy
thing and requires no great amount of train
ing. To give an idea of color and drawing
in ones own style of painting may not be SO
difficult, but to reproduce subject in ex-
actly the same manner the original artist
painted it means q great deal more. There
are two ways of copying. First, by using
pigments which will give the color of the
picture as it now is; and second, by trying
to imagine how the subject really looked
when it was fresh and new from the paint
er's hand and treating the copy SO, then by
means Of glazes and varnishes, etc., making
it appear quite as old as the original. In the
first instance many colors now in ordinary
use have to be discarded and the few known
of in those days used But knowing, or
rather understanding, both these methods
means but half the battle The copyist has
to study the technique Of the artist whose
work he wishes to reproduce, that is, how he
got his effects, handled his brushes and other
minuti@. Some few can imbibe 90 much of
the original painters technique that were
the finished work might almost be taken as
coming from the hand of a man dead long
years ago.
FOR A LIVELIHOOD.
Among the many copying for their liveli-
hood there are few who spend the greater
part Of their time in reproducing one or two
pictures. They have acquired the necessary
peculiar brushwosx and color for these pict-
ures, and their work when finished, except
for its freshness and being on smaller can
vas, could hardly be distinguished from the
original. Generally, these copyists are noted
and their productions bring them good prices.
But apart from the monetary side, their
lives must be wanting in interest. Me-
chanically they draw, working always by
squares, mechanically they paint. ever using
the same quantity Of this or that pigment.
AS machine, they take no notice of any one
around them, and if they are interrupted
or questioned they mechanically reply.
As directly opposed to the old stagers, let
Us glance at the many ladies who come to
these galleries to study and to enjoy them
selves. There are few very regular attend
ants, grim old maids, with whom, for the
present, we will have nothing to do. What
we want to gee are the pretty young girls,
well dressed and wearing becoming little
aprons, who wrestle with Turner or strug-
gle with Raphael, and between whiles run
of to each others places to have little chat,
who like to get into difficulties and have
charming young artists come and offer
to help them out Of their troubles, and dirt
with them just little to repay them for
their trouble. Too much Of this sort Of thing
cannot be indulged in, as there are guardians
always about who have to see that those who
makeus Of the privilege Of copying in the
gallery do not abuse it It Is undoubtedly Q
privilege. and not every one can obtain it.
70 enable one to do 60 IN application has
70 b made to tho psoper authorities, some
specimens Of previous work submitted, and,
H . foreigner, letter from the ambassador
O. cousul, asking admission on behalf Of the
applicant This permission once obtained Is
available fore whole lifetime, subject, Of
course, to the strict adherence to al rules
and regulations relating to copying. Tho
only one I need draw particular attention to
IL the one in force all over Europe to provide
against any picture being copied on q dmi-
lar sized canvass to the original. Many Of