The herald., 1894-11-18
PAINT PALETTE AND PASTEL,
What the Local Artists Are
Doing.
Works Under Way by Francisco and
Wachtel.
Intsresting Description of Canvasss
Which Show High DSgreo
OF Merit-Notes on
Art.

billions now on view in the chamber of
commerce, Fourth and Broadway, and
the Art association rooms on Second
street. is q very popular sign of the ac-
tive interest taken in art in Los An.
geles; and that the people who know
the local artists through their work in
those exhibitions. and others who have
not yet had an opportunity 10 do so,
may be put more closely in touch with
other workers by same artists and know
OF them in a more intimate and inform
al manner. the first of series of vista
to the studio here, will follow with that
end in view.
An insight into an artists manner of
working, his surroundings when at
work, and something OF his personality.
evidences of all these are to be found in
his studio, and such knowledge adds
greatly to the thorough enjoyment of
the results of his work.
Mr.. J. Bond Francisco, who is the
chairman OF the art jury that passes on
the pictures exhibited at the chamber
of commerce, is Los Angeles man, who
stands in the front rank of his pro-
fession here. His art education was OBJ.
tanned in Europe. where he studied un-
der Franz Lippisoh and Hans Techner,
in Berlin; with Paul Nauen at Munich;
and in Paris at the Collorassi and Julian
academies under such men as Bon
gueresn, Fleury, Contoir, Blanc and
Dagnan.Bonvert. Such an education,
acquired from such widely differing
schools OF painting, and as widely diff
fering methods and techniques OF emin-
ent masters, might. in a less talented
man, have produced different result;
as it is, however, it Las endowed Mr..
along each line in which he works, and
q breadth of thought and action In all
he does, that ia remarkable in so young
q man.
His studio is large room in his own
house on Albany street that is we'll
lighted from two sides and the roof;
full of interesting bits in the way of
bric-a-brac and curios that he has picked
up from time to time-armor and tapes
tries, comfortable couches in unexpected
inches, Q piano and other more conven-
tional pieces of furniture that are placed
about in artistic confusion. The walls
are lined with sketches and finished
pictures, mostly in oil, done long ago
and more recently. showing the gradual
evolution OF his art growth.
The earlier still life pictures Of fruit,
decorated plates, glass finger bowls and
the regulation still-lifs subjects that are
to an artist what the multiplication table
is to a mathematician-th drill work
that best develops IN the student cor
rectness in drawing. textures, modelling.
tones and valuation of colors. The best
example of the still life is large canvas
on which are q lantern, overturned
flower pot, paint pail and whitewash
brush, glass fruit jar and empty catsup
bottle, all thrown helter sketer on
broad shelf, all covered with dust and
to the last degree disreputable looking,
and, while it is not either an especially
interesting or beautiful subject in itself,
the technique is so carefully executed,
the textures of each article so faithfully
yet freely handled end the coloring so
intelligently used that the whole is an
exceptionally clever piece OF work and
is made interesting by it's technical ex-
celence.
Then there are heads drawn from
casts, and heads painted from living
models, all showing great care in model.
ling and coloring, yet broadly treated;
the chef d'puvre in this department is
alarge canvas that is still on its easel, q
life-slze, full figure of e woman in pro-
file seated on spindle-legged chair
the bare arms are extended and hands
clasped about the left knee, which is
raised with the foot across the other
knee; the gown is of light pink satin
covered with flmy chiffon, and from
under the lower edge are glimpses oil
lace frou-frou and the toe of white
satin slipper that the position brings
into view; the head is thrown forward,
golden brown hair dressed in the pre-
vailing style, very arch and rant ex-
preston on the face, and about the low
cut neck of the dress is deep rufi1e
edged with rowa OF narrow pink satin
ribbon: O life-like figure, we'll drawn
and modelled, in which the relative
values and textures OF flesh and hair,
satin and lace are carefully preserved;
the pose is clear and artistic, and the
coloring excellent and broadly handled.
The sick boy lying in his bed, one hand
firmly grasping a beloved rag doll, with
the faithful duenna knitting at his side;
q canvas that has been exhibited here,
and was also in the California building
at tho worlds fair last year. is also in
the studio and has lost none of it's ex-
cellence in its travels.
But it ia in his landscapes that Mr..
Francisco ia seen at his beat and shows
the depth and breadth and the true
artistic feeling that the limitations of
either still lie or figure painting will
not admit OF. His San Fernando valley
that WAS mentioned last week has the
side light it needs in the studio, and the
small rocks in the foreground that were
| fattened by top light are now brought
up in such relief that each throws its
own shadow. aud the cooring of the
whole is made richer and warmer.
On another easel. and still unfinished,
ia wood interior full OF deep rich
green's and dark yet transparent shad-
ows, the warm sunlight drifting in
through break in the trees on the
right. and falling across the road that
winds away in the middle distance.
The coloring is rich and vivid, the
treatment exceedingly broad and free.
yet the whole is a delicious bit OF ma
ture full OF living verdure, yet reEtfCl
and altogether charming as only nature
| can be.
| On the walls are to be seen marines,
coast scenes, other landscapes, both
large and small, all showing marked
degree OF superior excellence as to tech
nique and workmanship, while through
all is the feeling that is in the mans
heart for nature as he paints her, the
| feeling that no amount OF education,
European or otherwise, can put there.
| and that is the unmistakable eign by
/ ,,l, k>o i,h nd {rrv