Los Angeles herald. [volume] (Los Angeles [Calif.]) 1890-1893, 1891-10-04
GUY ROSES WORK.
A Review of the Young
Artists Career.
His Studies and Methods in
Paris.
An Exhibition of His Paintings to
Be Given.
A Young Artist Who is Rapidly Win
ming a High ReputatIOn-A SYM
pathetic Paper on His
Work.
LEY G. z. sLoANE.l

Oh all the young men ana women who
have left California to complete their
education in Europe there are probably
very few whose return has been looked
forward to by the general public with as
much interest as that of MIR. Guy Rose.
Before he left here about three years ago
Mr.. Rose bad shown such unmistakable
evidence of more than ordinary talent in
the field of art that not only his imme-
diate friends and associates, but all 9TH
ers who had seen his work and were in
any degree competent to pass an opinion
upon it, agreed that ii the development
of his gifts by the serious work required
in the schools of Paris, and which his
own earnest love of his calling impelled
him to seek, realized one-half of what
his earlier efforts promised, America
might add another to her growing list OF
names of men who have risen to sufi-
cient prominence in art to demand rec
ogntion, not only in their own country,
but abroad, and to California would fall
the pleasant privilege of claiming his
birth and early surroundings.
To the people generally Mr.. Roses
studies in France was a matter of some
interest, owing to the prominence Of mis-
family among the older residents OF this
section, and his recent quiet return has
naturally given rise to many requests for
an opportunity to see the actual results
OF his three years' hard work at the
famous Julian academy in Paris.
The HERALD therefore takes pleasure
in stating that specially arranged exhi-
bition OF his work will soon be opened at
the gallery of Messrs San born, Vail & Co.,
where visitors will be welcome to IN
Epect some dozen or twenty canvases
and Judge them favorably or otherwise,
according to their own capacity for I'M
derstanding really good art.
None of the actual work done in the
academy will be exhibited, as it consists
almost wholly of large number of
figure studies which naturally are not of
such general interest as is the result of
the knowledge gained by these same
studies, as shown in the large compost
tions painted from nature with the
models posed in the fields.
AS the plan of work adopted at the
Julian school is not generally known, it
may be interesting to say in passing
that the studio consists of large room,
in the center of which, on an elevated
platform, stands the model. Around
this platform the students are seated as
closely as they can be crowded together,
and the plan adopted is to turn the new
student i'll without word, let him find
place for himself, and start in to draw
the model with every nerve concentrated
on doing it as well as his fellows. After
day or two of this the master comes
around and looks on. In Mr.. Roses
case, the professors were the celebrated
artists, Jules Lefebvre, one OF the great
est living painters of the nude, and
Benjamin Constant, the famous expon-
emit of oriental life and scenes.
AS the pupil advances the professor
gives him more and more attention, as
his varying success may warrant, until
at last those who show decided talent
are made happy by finding the master
sat home" to them of Sunday morn
ing.
Each month during the season an ex-
hibition OF the students work is held,
and from the 600 or more one is selected
to receive a prize. This honor, / am
much pleased to state, was conferred
upon Mr.. Rose, and his successful draw
ing hangs framed upon the walls of the
Julian academy at this moment.
During the summer the studio is
closed, and the students troop to Nor
mandy, Brittany or elsewhere, as suits
their fancy, to continue their studies
with nature as their model.
1t was in Normandy that Mr.. Rose
met the man who is today probably the
most honored and most talded of among
the followers of the Impressionist school
the great Claude Monet. For two
seasons the master and student sketched
in the same vicinity, and it was not till
the second one that the moody and
soured nature of Monet unbent enough
to SO much as notice the young artist,
who was struggling to paint nature as
he saw it. After the first notice, it was
but step first to criticism then to sug-
gestion till Mr.. Rose found himself as
nearly pupil to the great artist who
scorns both salaries and dealers as any
student may hope to be, the result of all
of which is that many OF Mr.. Roses most
beautiful landscapes show the strong
influence of the impressionist, and even
if to an uncultured and unframed mind
these may be unintelligible, they cannot
fail to be interesting, and 1 trust that
those who do not understand them will
try to do so in the interest of their own
development in the knowledge of art,
and Judge myself that any study that
may be accorded this group OF pictures
when the exhibition is opened cannot
fail to be productive OF much good in
the mind of the student, be he literally
a student or only lover of art in a
broad sense.
The work at the Julian academy is
limited entirely to the study of the
human figure, both draped and nude,
the summer vacation work Of the stu
dents being, of course, of their own
choosing, with Mr. Rose it has been
landscape, and the subjects in the com
ing exhibition will therefore be large
landscapes with figures; smaller and
very charming bits ofsimple landscapes,
in which Monet's influence is most
notable, and several extremely vigorous
still life subjects painted in his studio
in Paris, which are so very excellent
that we are tempted to speak of them
more in detail, but will preserve the
pleasure fol a second comment ON the
pictures when they are ready for ex
hibition.
Those who are familiar with Mr..
Roses work before he went abroad will
find these last subjects more suggestive
of his early style than any of the other
things, but showing at the same time
the result of good hard-study, and far
SURPRISING in color and treatment his
efforts in the same direction prior to his
European studies.