Wood County reporter. [volume] (Grand Rapids [i.e. Wisconsin Rapids], Wis.) 1857-1923, 1891-02-05
CHARACTER AND TRUTH
Two Necessary Qualities in Portrait Paint
ing.


In the best portraits of all schools of
painting we find invariably that they car
ry in themselves the eviderce that they
possess two qualities without which, we
are agreed, they could never be placed
among the great works of art that endure
for all time. Character and truth are
written in their every line, and we need no
personal testimony to convince US that the
painter has not given us any impression
of his sitter that is uncharacteristic, Just
as we can see for ourselves that he has not
been untruthful in his presentation of
facts. The masters have had different
ways of expressing truth and character,
and where some have insisted on detail,
others have summarized and selected;
Holpein, who omitted nothing, is not
more true that Velasquez, who omitted
much. Among all the great painters the
analysts and synthesists have this in COM
mon, that the first thing to be sought for
in arts is truth, and this they have always
attained, no matter how widely they have
differed in method. After truth comes
beauty, for we cannot have the second
without the first, and it is here that so
many moderate portrait painters are de-
hclent. 1t is not enough to transcrihe
facts in nature, and present them as near
ly as possible as they look, the manner IN
which they are presented is what makes
the picture 1t is not sufficient to pose
one sitter In favorable light, and paint
him on a canvas as he stands, and put
frame around it. There is one place on the
canvas, and one only, where the head
ought to be, and If it ls an inch too high
or too low, or an inch too far too one side,
something is lost There is one part of
it whore the light should be strongest, and
| another part where the light should be
subdued; if this is not felt and the masses
are not placed where each tells to the best
| advantage On the other, something more is
! lost. If the space about the figure is not
properly proportional above and below
and or either side, if the hands are not
placed where they balance in the compost
ton, the picture loses in style. If, in
short, the composition is not studied in
line, in mass and in color. we shall have
little more to look at in the picture than
chance attitude as the photographer gives
| 1t. 1t may be In one sense characteristic,
but it is not digui6ed or sober, or graceful
or beautiful, as the case may be. The
painter who complains that the pubic
care for little but the likeness in a portrait
| taught, and that it will never care for the
other things. and consider portrait as ii
ought to be considered-as picture-un-
| till it has the evidence constantly put be-
fore its eyes that bare truth is che thing
and that beautiful is another and better
thing. The condition under which Ameri-
can art is making its way are favorable to
good portrait painting, and II the painters
DO not neglect to practice what they preach.
comparative Indifference on the part of the
public will quickly turn to keen apprecia-
ton. We have some excellent painters OF
portraits already-excellent III the best
sense of the work-and their work is high
" valued. With this beginning, with the
progress that must come from them and
from those who mean to paint with the
anne motives they have general recognition
sand encouragement is sure to follow.