The herald., 1893-08-13

what Individually gives ne pleasure /,
our friends? We never mistakeI1the IL
literAte mind for the cultered, even in
our judgment Of the throng passing
upon the crowded thoroughfare-thiI
force Of mind over matter being appar,
ent even to the thoughtless or careless
observer OF humanity, but how seldom
do We find In the portraits adorning our
salons the intellectual individuality oI
the men and women who commend the
homage OF the world through those at
tributes OF the mind. The solution lies
IN the TACT that In the little things only.
do We obtain that flash Of intelligence
which passes with such lightning rapid
ity, that ~ an animal in fight, we
fail to perceive what produces the
OF cause and effect. Not only must the
artist perceive character, but what are
the essential qualities necessary for re-
those lovable traits which sppeal to the
individual for whose pleasure the
portrait is executed. Take, for
example, a man deeply en-
crossed in an occupation which brings
him fame. Should the artist perceive
only those attributes of the brain, how
valuless would the reproduction prove to
the wife, who lovingly cares more for
the fash Of affection which ever greets
her smile than all the knowledge which
the artist could convey to posterity.
And yet how insipid would that grace
of character prove without the scholarly
attainmentsl As an example, l was
once called upon for an opinion on the
portrait of Q man well known % one OF
the saviors of the union. To con-
dem the work OF such artistic excellence
as regarded the mastery technique,
brilliant coloring and faultleHa compo-
sition would have seemed the carping OF
a critic fond of preceiving defects, but
in my answer / said: "Well, general,
don't think anyone would have been
much afraid OF you in the late unpleas-
antness had they seen instead of your
self the embodiment OF the portrait. The
essential all was lacking, and 1t had just
the defeated ranks had he been 30 for
tunate as to procure the talent of such
an artist as the man who has won the
admiration of a nation. The study OF art
has been reduced to such q science in
tho 0HO Va OtCttAictey ia COhAcOuiOA Win
the anatomical studies, in demopstfat-
ing the individual movement of the
muscles and the expression induced
thereby, that to one whose mind is in
tent on the thoughts in the brain of the
sitter mechanically, the muscles are as
the keys of an instrument to the musi-
clan, to be played upon by the CONVEX
sationalist for aresult of harmony in the
production upon the canvas, as the COM
position of the master is repeated on the
instrument. Looking upon the pictured
face we should be able to form an opin-
ion of the subject as the listener judges
OF the passions by which the music en-
iaptures or repels. Therefore it lie of the
utmost importance that the person
posing for Q portrait should he
thoroughly entertained, for nature is
always harmonious. You can no more
expect face in repose to fash than the
beacon at sea if the lighthouse keeper
forgets to ignite the luminary. / know
l shall here be met with clamor from
the art fraternity, for fully recognize
the difficulties of the work where one
individual has this mental feat to
perform and at the came time
the energy requisite for the
technical qualities OF the execution.
Happily, 1 have not experienced this
exhaustive necessity, as it is in this con-
nection we work in such harmony in
our own pictures, for when either paints
the other entertains the model. In
portraiture the ideal must be subservient
to realism, but by realism do we of
necessity, mean the prosaic a};a q; aefagmmon.
th.a .,nns1al beauty OF Miss A. this even
ing? Ia she any the less real because
30 enchanting in gown which adds q
thousand fold to her beauty? Is the
portrait any less real because of the
careful selection of the background
which is in abeyance to the personality
and yet adds charm of color to the in
dividual? Itis in these matters requir-
ing taste that the artist is allowed
the scope OF his artistic genius even in
portraiture, for lift curl upon the fore
head and the intellectual contour may
be more pronounced. Slightly fore.
shorten chin which is obtrusive in
placing your model, and the result OBJ \
tanned is juet as true to nature and far
more real than departure which often
results in obliterating personality with
out gaining that beauty of the ideal
which even moderate likeness to the
original often forbids. Yes, think the
greater the artist the more he will rely
upon charming with the expression OF
his model rather than classic srepose and
brilliant manual dexterity, which is des-
tined TO stand alone as monument OF
technical skill. When yet very young
in orr professional career, we painted
the portrait of a man known for many
admirable qualities and especially versed
in literature, but an individual OF whom
the community was unanimous in de-
claring wanting in compassion for the
poor OF his less fortunate brethren and
totally lacking in the qualities of the
cheerful giver. The portrait fin
ished, in the first flush of satis-
faction the family were silent In
criticism, but after much study nephew
remarked, There is but one defect
The hand lay in easy repose with one
finger slightly apart. he said, L don't
think | ever saw uncle with his fingers
separated.' Stung that our artistic con-
ception OF the repose should be assailed,
and not as wise as years OF added study
has made me, retorted, True, should
have remembered that member which
is always EN- ployed In opening the purse
should remain closed when never occu-
pied in that manner, 7, but the lesson
thus craven on my memory taught US
the care necessary in the entireness of
the work. Who does not recognize Jim
Smith, though he stands with his back
to us and 80 many blocks away that we
fail to see whether his habiliments are
black or blue? Who does not recognize In
tho I'D ram a fic apuuteraY the familiar