The morning call. [volume] (San Francisco [Calif.]) 1878-1895, 1894-03-11

This was said with emphasis that con-
veyed the artists belief regarding con-
scientiOus work.
There are good many roads to Rome,
and they all aim to the same end. by FOL
lowing different roads schools are formed.
Don't they lead toward the ore end-art?
The only sch DOL to follow is nature, as it
appeals and appears to you. Now, here is
sketch. Ii is nearly all foreground with
little or no distance, painted for its Cali
fornlan color and character. That would
be nothing if you were to give dabs OF
paint here and there. The motive might
be good in itself, but the picture would
represent nothing. ] will start a picture
from it next week. The subject will be an
Indian trail close 10 the ocean with a
glimpse of the sea. The spot was interest
ing for its local colOr-a good bit of Cali
fornian color, with the hillside burned up
by the sun, dead leaves all about and
patches of brilliant green where the
pigeon berry is growing. A summary
sky above and thin dry air and you have
Californian character.
Among the many color sketches Mr..
Won Perbandt made during a two-vears'
stay among the redwooos is a typical sum-
mer scene in Sonoma. This be painted
from his garden looking across creek
against rolling foothills in the distance.
Some interesting portions are brought into
prominence by mastery treatment,
though the natural beauty is all apparent.
A cluster of young redweodS around a
stump beside The stream is true as nature
itself, and beside their vivid hues are
scorched grasses, eucalyptus, a madrone
or two and q mass of trailing ivy along the
gardeu-fence. just where the water must
be lit is not seen in the picture) weeds
trees and grasses are growing and full OF
refreshing color, but elsewhere vegetable
life is resting. Another large sketch
Ar1 l.
with sluggish stream. The scene repre-
sents noon time on an autumn day, so ths
sun Is nearly overhead and casts shadows
that are not readily seen at first view
Instead of relying on touches for effects
Mr.. Won Perbandt has drawn every leaf
and bramble with his brush, and yet hi s
foreground and distance have an admira-
BILE brOadness and boldness of treatment.
From these peaceful scenes the artist
often wandered down to the sea beach to
study moon effects ana the ocean under
different conditions. lie has one sketch OF
moonrise in fog over the sea which
shows conscientious study and considerable
power. There is expression in il enough
10 convey the feeling of chill air. cold.
wet rocks and the gloom of gray sea and
still grayeT moon.
And it was cold and depressing when /
made the SKETCH" the artist remarked
with shiver. 81 felt it keenly. But what
VI tudig mduN anu SAT
upon the rocks for study. as without con-
slant impressions from the sea you cannot
reproduce marine effects. Waves are ever
changing. so what you get of an impression
must necessarily be but fash, and then
IL Is all gone. The right way is tn live
like the chickens-go TO bed at shutdown
and get up with the sun. There is no time
so beautiful as when The sun is rising. Ii
is well worth getting out to feel. l got
used to il in two or three mornings, and
then would not miss a sunrise. I've seen
many in the mountains that, were | to
paint them, people would say, He's
mad"
Mr.. Won Perbandt paints in the studio OF
Henry Raschen on Montgomery street,
with whom ne lived among the Indians
and mountains of Sonoma for TWO OIL
three years, sketching and painting and
! leading a careless Bohemian life. His
forte is. landscapes, all of which have a
peculiar Charm.