St. Paul daily globe. [volume] (Saint Paul, Minn.) 1884-1896, 1890-01-05

paint, a course he looks at THESE.
With modest air and dOwncast eyes,
ottentimeS, the good model calls atten-
tioG to the points of her figure that she
knows will DC of value to the artist.
III meek dociijty she stands ia
the light, while he watches the
sunlight CLINT on her golden hair,
OF holds t. GcC dOwny check some rich
Eastern. fabric 10 study the effect Of
light and shade. Without q shudder
she stretches her form on taWny mons
skin that seems almost to careSS the
rounded limbs resting Solightly upon it,
and in cold, apparent impassiTeneSS she
hears remarks Of approval, however
enthusiastic, for all these things are
heard 30 often that they are only part
OF the business.
VERY FEW EONIANCES.
The romaHCGs which the minds of the
public weave continually about the re-
lationS Of tho artist ana his model exist
so seldom In real life that they practi-
cally do not exist at all. Ii is profess
sion, that IS all. and the mere possession
of physical charms does not always in
sure success rs a model. There must be
tact ard adaptabllity rs Well-taCt
enough 50 correctly gauge the temper OF
the artist, and adaptabujty To carry out
readily hls idea Of pose or a picture,
and even sometimes TO make picture
for hsm froin the slight hint he will give
you OF what he wants TO do. 1t IS all
business and 10 nonsense. In most
eases frequently cited OF artists who
have married their models, it will be
found that It was some lady friend pos
ing for portrait or ideal head who be-
came THE artists wife, and not the pro-
1CSSiOnai m0dcl per Sc.
The professional model must be as
regniag and buSineSS-like in her habits
as a ScanstreSS or bGokkeeper. She car
riCS her beck Of engagements filled out
often weeks aud even months anead.
and II must bO consulted before new
engagement is made, and if she does
not sc!igiOUSiY fulfill all these engage
ments she is soon in the black books of
the artist. Shc must be Wide-awake
and strong, and have nerve enough to
stand imm0yabie in the most irving
positions, Though the limbs ache and the
head seems splitting with pain. There
can be 10 theater and midnight supper
Tor the model, OF long deep sleep i'll the
early morning.
She must jump out of bed at a. IN.
TO plunge into her bath and prepare for
the first engagement, which often be-
gins AT s. and the last sometimes ends at
IL p. IN, while lunches and dinner are
Snatched hastily at some Bohemian
restaurant or consist of bit of fruit
bought at street corner and munched
while in the car riding up TO the OPP
posite end OF the town,
INTERESTING AND PAYS WE'LL.
But though the life of the model be
stripped of romance, il has its cOmpen-
Stations. We are well paid and well
treated, and if one has a strain of Be-
hemian in her disposition life i'll the
Studios is not only eXhilarating and
stimulating, but liberal education in
itself. There are books, magazines,
catalogues, tapestries. bric-a-brac, carios
IN delightful confusion. Skeletons and
mummics, casts of celebrated statues,
books oil anatomy or architecture, court
the attention in the dim corners of the
studios. and many fact of anatomy,
ethnOi0gy or history is caught up and
stored in the memory without apparent
effort, and many an embryo genius gets
the first impetus towards art. literature
or drama while wearing the classic
robes OF Parthtnia on the Queenlier ones
OF Cleopatra.
The studioi What fascinating sub
ject 10 the uninitiated a picture is
seen and admired at the exhibition or
in some popular magazine, but it is the
model only who sees studio and artist
en- ncgligee; but seldom does this famil-
iaritY bring contempt, for the artist is
bTOad-mnded, liberal and unaffected,
and the studio is careleSSly unconscious
OF the curious regard Of visitor and
the careless indifference of the model.
IN THE STUDIOS.
Al first we note little individuality in
the different studios; it is all a tumble
OF odds and ends, gathered from the
four quarters of the globe. The same
screens hung with parti-colored drapery,
the rugs, carved chairs, mandolins, bits
of CHINA, etc. Butas we know an art
Ist and frequent his studio we see that
the draperies are japanese figured silk
if lac affects dark, voluptuous beauties,
and gauze and null if his tastes are
more ethereal The Mexican pottery
and copper kettles found in the studios
where Indians are painted become deli-
cate vases and dainty cups and jugs
where the artist paints Vatican figures
and French interiors. A seine across
The corner and some wooden shoes tell
us that the canvas on the easel will rep
resent some phase of peasant life, and
the number Of the artists own works in
the studio tells the shrewd model some
thing of his success.