Iowa County democrat. [volume] (Mineral Point, Wis.) 1877-1938, 1891-01-30
CHARACTER AND TRUTH.
Two Necessary Gus lities In Portrait Paint

In the best portraits of al schools Of
painting We find invariably that they car
~ IN themselves the evidence 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 10 convince us that the
painter has not given us any impression
or his sitter that Is uncharacteriStic, lust
as we can see for ourselves that he has not
been untruthfu, 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.
HoiOeln. who omitted nothing, Is not
more true that Nelasquez, who on.itted
much. Among all the great painters the
analysts ana SyutheSiStS 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 theg have
differed In method. After truth comes
beauty, for we cannot have the secord
without the first, and 1t Is here that so
lnany moderate portrait painters are de-
tielent. 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
ones sitter in favorable light. and paint
him on canvas as he stands, and put A
frame around it. There is one place on the
canvas, and one only, Were the head
ought 10 he, and If It Is an inch toe high
or too low, or an inch too far too one side.
something is lost. There is one part of
1t where the light should be strongest. and
another part where the light Should be
SubGued; II this Is not felt and the masses
are not placed where each tells to the best
advantage IN the other, something more il
lost. 1t thH 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 a
chance attitude lis the photographer gives
1t. 1t may Ge In one sense characteristic,
but 1t Is not dlguifed or sober, or graceful
or beautiful, as the case may be The
painter who complains that the pubic
care Tor little but the likeness in a portrait
ought to know that the public mast be
'"TS NJ, anu 'Ldt II VIII never Cafe.lor the
other things. and consider portrait as ii
ought to be considered-as a picture-m-
till 1t has the evidence constantly put be-
fore Its eyes that bare truth is one thing
and that beautiful is another and better
thing. The condition under which Ameri-
can art Is making its way are favorable to
good eortrait-painting, and if the painters
10 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 aIready-excellent in the best
sense of the work-and their work is high,
ly 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.