The Bryan daily eagle. (Bryan, Tex.) 1895-1898, 1896-08-12

eaaion BY Lady Godlva Of Coventry you
must not be surprised or indignant.
It Is only the development OF a nes
artistic Idea. the results Of which. the
artists will ten you. will enable the
painter to achieve color effects that Il
Is impossible to obtain by painuns
from the model IN the studio.
The north light OF the studio Is no,
The Light Of nature. Il has not slo
clarity Of the light Of out-of-doors. and
Il falls upon the model and brings out
tones that are not naturallstic.
Because Of all this. Il Is reported that
many artists are going this summer to
SET up their easels In the woods or b.
the sea, there 10 paint from the model
In the bright or softened light OF out
of-doors, that never enters any studio.
The naturaiistle painters are the ones
that are going 10 do this sort OF thing.
The idea Is. as might be fancled, not
American. but French.
Startling a. this may appear. the ar
tistic mind is prepared for Il by the
Partisan precedent. Adolph Lazar. q
painter occupying a studio In the Paris
Latin quarter. made necessity the
mother OF invention. Half a dozen
years ago he was In despair Tie had
conceived the idea Of the picture Of a
nymph which he hoped TO exhibit In
the salon. The early sketches we're
made and his model secured.
Where TO paint his picture was =
question that puzzled him. The lig
In his studio was white enough. bu,
was not the light the artist desire
and that be thought must have fallf4
upon the nymphs Of old. He must ap-
proximate that light as closely as pos
Elble.
Whore could he secure III Nowhere
better. he argued. than In the woods.
SO he picked out a spot. intending 20
make his studies there and finish the
painting az home. And Il was In the
woods tina, this idea occurred to him
Why not pose the model here In the
open air? Why not catch directly On
the canvas the effect OF the strangely
softened light that finds It's way
through the leafy screen to the
grOund?"
And Lazar aid this. Day after day
his model was posed by the banks OF
little stream. and the result OF his work
was a picture which interpreted per
iectly the natural flesh tlnis. the soft
sunlight on graceful limbs. the lights
aad shadows OF the human figure seen
IN the open air and under the trees.
The painting was a success. Il was
discussed by the world OF art. and
solved a question that had perplexed
artists for years.
The solution was so simple that u
had not been thought Of before. Thou
sands and thousands Of thousands Of
dollars had been spent In htting up
elaborate studios containing not only
roofs but sides and fronts OF glass.
Other studios we're built on the roofs
Of houses. all to obtain the coveted
natural light Of the woods. but there
vas always something lacking. Lagar.
the struggling artist. settled all ques-
ti0ns by going direct to nature.
No secret was made Of the manner In
which the perfect tones OF Lazar's
nymph had been obtained. In a month
half a dozen artists were posing I'M
draped models In as many points OF the
woods about Paris. One OF the frst
models 10 be taken to the woods was
The famous Sarah Brown. She was he
hrst. too. who discovered that the NJ
idea was a boon TO models. The air
only had beneficial eject on her.
found. but removed half the fatigue
posing for a length Of time In a dino
attitude.
Beyond Paris. In France. the idta
spread rapidly. Nowhere, however. dld
Il become 50 popular as at Gree. near
the river. the scenery there being par
ticularly beautiful. The French ar
tists who take readily to any new
method. no matter how freaklsh
grasped this upon the Instant From
no quarter was the slightest objection
heard.
One artist at Gree posed his undraped
model In his back yard beneath a grape
arbor. The artists mother had fog
years been In the custom Of sitting AZ a
rear window to watch her son paint In
the back yard. and stil remained there
They look upon that sort Of thing az.
ferently abroad than here.