The morning call. [volume] (San Francisco [Calif.]) 1878-1895, 1890-12-21
THE REASON WHY.
What Makes the Expression in
a POrtrait-The Secret.

"Why is it that so often picture resem-
bles the original, and yet is lacking in some
thing that would make the likeness per-
fect?" asked writer on THE CALL of one
whose life had been spent with the artists
pencil
"Your question is delightfully."- vague"
was the response 81 suppose that you
have in mind something of this sort: You
have seen a picture in newspaper, and you
have wondered why the artist did not come
nearer the truth. Something is lacking and
you could not tell just what that something
was, and after pulling over it for while,
you concluded to ask the first of them pic
ture fellers' with whom you CHANGED to
meet. Have l stated the fact correctly?"
6 / think so," was the reioinder, only
you have stopped half way in your state
ment Of the facts. My question was sug-
gested not only by what l had seen in
newspaper work, but also in portraits done
in oil. l have a special one in mind. The
original is face of great beauty and power
of expression, and is lighted up with look
OF great intelligence, not lacking il sympa-
thy; and yet in the painting, while all this
is suggested-for there's not a doubt but
that the likeness is unquestionably a good
one-the idea conveyed is that of stern
man, one whose natural mood is severe
one. What has the artist done or left I'M
done? know that the cant phrase Won Id
be that he has failed to catch the express
sion,' but that does not satisfy me- / would
ike to understand by what trick of his
brush he failed to catch the expression
During this somewhat lengthy circumlo-
cution of his question the artist had stood
patiently listening, with faint smile upon
his countenance.
l think that can make it clear to YOU"
SAID he, portraits that are criticized as hav-
Ing sad or stern Look, that persistently
refuse to smile, have been executed by an
artist who has not made the muscles of the
face his special study. The controlling, or
eXpressional muscles, l SHOULD say, particu-
larly those about tie eyes and the corners of
the mouth. You know it is the proper thing
to speak of the eye as the window of the
soul, and yet, as every one who has given
the subject any thought will readily under
stand, the eye with all its varied expressions
depends entirely upon the muscles and their
movements around the eyeball.
observe these controlling muscles close
ly. In smiling, the corners of the mouth
turn upward rather than downward; the
lines at the outside of the corners of the
mouth have much to do with the expression
In smiling face these lines curve outward.
and the nostrils are elevated. Do you note
that the tendency for mirth. happiness OF
delight is upward. Now note the differ
ence; in sad or q stern face these lines be-
come straight and the nostrils droop. In
ouiiiuss tno eyes diSO ne upper
lid Is elevated. the pupil is made very dark,
and the high light of the eye should be very
bright and sparkling. This is done by put
ting in touch of almost pure white with
small pointed sable brash The under lid
is made little higher in the center than at
the corner of the eyes, and the lines under
meath follow the same direction. So YOU see
that ii makes all the difference in the world.
as lar as the expression is concerned, whether
the artist sends his eXpreSsiOnal lines up or
dDyUn M hx fha <I,.s
talking upon the subject, let me tell you that
l nave theory of my own in regard to
p0rtrait-palnters, and it is simply this:
From what l have seen of different artists
and their work, have come to the con-
clusion that portrait is bound in some way
to bear the impress of the artists own per
sonality. For instance, if he himself be n
pleasant, Jovial man, his portraits will have
a pleasant, JOvial expression. If he be a
disappointed man, his work will show a
morose look. and SO on, through all the
varied states of feeling. This may seem
fanciful, but | am certain that it is suscepti-
bic OF proof. Another thing that confirms
me IN this theory is the fact that
sure to bear the impress of that
nations facial characteristics Let me see
II can't make 1t clearer. Some years ago
1t was the fashion to send photographs to
the Orient to have the native artists paint
portrait of the subject, dressed in Oriental
robes, on their panels call, kimonoes But
although l have been called upon to admire
many of them l never yet have seen one
that did not strongly suggest Monaghan or
Japanese type of countenance. And the
same with our own artists They always
fail to get the typical cast of eountenance
when they try to depict an Oriental The
Caucasian type will come through and spoil
their work. Haven't you noticed it?
think l have" said TIE CALL re-
porter. and since you have taken the
trouble to explain so much for my benefit
perhaps you wouldn't mind little more of
the same sort viii you tell me why so
many portraits in oils have hard, waxy
look? They don't look at all like flesh"
The reason is not far to seek. 1t is
caused by two faults in working. One is
that the artist smooths off his paint too
much, makes the canvass too smooth. The
other reason is that the color planes are not
properly observed. 10 make good por-
trait each tint, light, half-tint and shadow
should be carefully placed in its exact form
and relation to others. These tones must not
be blended, but must be simply united at
the edges with a clean, soft, fiat bristla
brush. and care taken to preserve the shape
Of each shadow where it meets the light
There, isn't that perfectly clear? Is there
anything more you would like to know? We
shall next have you trying your hand with
the brush.'