The morning times., 1896-02-02
How TO Dress
For The Artist
PROFESSIONAL PAINTERS FUR
NlSH IDEAS IN COLOR.
Practical Insurance Against Dis
appointment or Failure in Hav-
irg Features Immortalized.


is "a fact which artists have been asserting
for years. They have also vainly strives
to impress upon the feminine public the
importance of each woman studying her
own palette
There is invariably some one prominent
color one, as welIas adorfnina Mt form. which
a woman should accept basis principle,
or suggestion. for every dress, hat or wrap
with which she sdorns herself. And II she
is unable 10 discover it by Intuition, she
should consult an authority ON the subject.
| EXPERT ADVICE.
Artists are meeting this new demand in
the most cordial spirit, and are willing To
work out individual schemes OF dress for
their patrons. The result of such labor Is a
"color card :" on which every varying tint or
tone is painted with sketehesor photographs
embodyinG hegcneraltypeofcostum suited
| TO the woman who eonsults them.
The subject learns that her dominant
| tone is yellow blue or pink, as the case
| may be. and while she may modify or in
| tcnsify the color, She can never afford To
ignore or infringe upon its dominance.
Women pay hberally to secure such ad-
vice. especially from portrait painters, and
follow the directions as closely as they
would a physicians prescription. The
! original card and SKETCHES are usually
| pinned un the dressing table. where they
! can DE scanned several times a day. Copies
| are sent to The modisie. who is never per-
mitted 10 dcyiate from the rules laid down.
| The really wise woman carries with her a
third edition for reference ON shopping
tours to avoid being beguiled into buying
exquisite novelties merely because they
/ appeal to her love Of the beautiful.
1t requires no little moral courage for a
| woman with 4 keen love of artistic cpmbi-
| nations Ia live up Ia her color card. She
| must sacrifice many a bargain. shut her
eyes to bOnnets and hats that are ''poems;''
in fact. exercise as much Self-deHiai as
though she were dieting To oreduoe her weight
or to improve her complexion.
VIEWS OF THE ARTISTS.
Mr.. Chase insists that if woman can
once establish an Harmonious understand
ing between herself and her wearing ap-
parei she is assured against failures and
disappointments in dress.
Frank Fowler. whose skill a portrait
painter is shown to the best advantage i'll
HIS reCtUlll liuISHtu poItEeit u ANU
bishop Corrigan Of New York. with its be-
wildering luxury OF lace. velvet and jewels,
is notable authority ON cnlor.
The question Of wouan's dress is not
an insignificant one" he remarked when
approached on the subject. 'and ! know
that artists Of not would be perfectly
willing Ia give their advice upon mat
ter nr such real artistic Importance"
Mr.. Fowler believes there are artistic
possibilities In the most modern fashions
and especially admires the fun, suft
sleeves druoping from the shoulder. the
lavish folds Of the skirts and the richly
coIorcd materials now in vogue.
A gown Miss Maud Adams wears when
playing Christopher. Jr.-" he cites rs
an admirable iiiirsi ration Of the rare grace
and bessaiy To- be found in a costume that
is the nlterowth of cultivated taste and
an application of reIa tive harmony in
gown and wesirer.
Mr.. BlashfieH. The mural painter who
has wrought out 50 many beautiful ef
rects by the Use of the female figure in
his decorative work, said recently on this
subject: 1T would be difficult to say which
a wenaa u should study most carefully color
or form; both are so completely and essen
italy the ilaBd-maidcns Of taste. A wo-
man may repeat her crlor scheme in every
ga rmeut she wears and yet by ignoring
form destroy an harmonious effect"
FORM SCHEMES.
]. Wells Champney, who has not only
painted some of the mos, beautiful wo-
men IN America. but has copied in pas-
tells all the famous court beauties of |
France and England, believes that II isl
,he province of the artist to distate in |
matters of taste. /
1T Is not enough" Mr.. Champncy re-
marked. that n woman should understand
the meaning of every shade of color to be |
found in her palette She should be
equally familiar with the beauty lines of |
the figure which can be either brought out |
or entirely hidden by the style of garment. |
Periods of artistic dressing observed |
Mr.. Champney. which have occurred in |
history at intervals. as the Greek. the |
.rnpire, and the Venetian, are all practical |
of satisfactory results to he |
obtained from clothes artist ically con-
Es
Mime. Sophia, daughter of Louis XIV, |
whose portfah was done in 1742 by Natter, |
The court :Iriinter. is an example of the /
extent TO which q costume. however. rich /
,r laborate, can be made subservieni. r.
realing and actually heightening the beauty
Of the wet,rer.
THE NOW Famous portrait of Nine. Re-
ramier, inaersimple, graceful, empire gown.
s. another illustration of the excellent ef-
ects to be gaint,d by following the guidance
If nature ID al matters whether of form or
olor." -;
SCHEMES OF COLOR.
Mr.. MunxiS.. the young artist of New
York and Newport. has painted some lovely
ortraits of women whom he terms cool
blondes women with dim gold hair dead
white skins. and whose eyes are gray with
ut deep shadows. These women he inva-
iably dresses in pale yellow, vague blue or
ose, suggestive tinis only, as they alone
re to be found in their color schemes,
hades that are as cool and unobtrusive us
he doininant blue tone In their COM
'lexions.
A "Titian Hfonde," on the other hand.
With warm lights in her hair. and a pink
sh glow in her skin. he would ciothe in
rOsc-pink, seal-brown, deep |
orange or a reddish blue; each color re-
rejecting or intensifying the
ich mellow tones with which nature has
ndowed her. /, Red is her color note.
A yellow Blonde" with golden locks, Fl
right blue. or brown eyes, and skin like
Marectal Neil flower. would find on I-t
er colo. card a list OF mauves. yellow