The sun. [volume] (New York [N.Y.]) 1833-1916, 1896-04-19

ing toward black. but are %brownish, suggestive
Of the Influence Of light everywhere. rs II
II Of course, even IN N shadow. do not Use
yellow oghrr. hut raw sienna instead and very
often | resort to emerald green in the place ot
blue, Generally sreGkinE, J avoid blue. but end
up pbr, WIN s sss no pSSiT asS a fos aIi, bgt GREEN la 1h iS. d%rS
several greens IN fact. The broad result, the
net eilrSt; t. hardly any gray IN the poStratt,
candesccnt light, ! measure 1t 10y the standard
or. scale OF the daylight.
IF ANYTHING Is wrong, darken the ROOM, turn
IN the lights again. and study the phenOineua.
II IL Is ~ the general advantage " the color
iliav sHs to- to- HE bs m picture" T,':d Snf 10 S ssa b y" th s'c c]ioS,TIs
light certain shadows rather more blush. or
yrllowish, Or grnyish. or reddish. as the case
Ilaa, One. point to bear In mind Is that the
shadows. Of n dark object when seen, on brit.
are yery red. NoS. red Is a quickly disappear.
Ing. color; Il satisfies the need ot shadow, but
"fo Nnsn nsS s'f TEorS Ssts't take en the RI red in shadow RIIotF" OF
tnwqrl black. In two or three, years, hut the
mcdowell and ripened. and the shadows wifi
be- rich and true. | will %confes, that | see my
| paint them to wear, and, like every really
valuable thing that the mind and hand can
do, 70 gain by the flight Of time
"liow does this bear on the modern impress
sIoni-m, Mr.. Nosr Isn't there u chance for the
man WIG pick out one section of the spectrum
~"Exactly,, il that Is what q man wants to
DO: There Is, for example, 9 splendid chance
to make a decided lit in what I might. per-
haps, call iridescent shallow. | detect in the
atmosphere liz by the Incandescent lamp. and
especially on the surface of black objects ike
II ccat,, tiny hlainents and globules of purple
and gold, " is very beautiful. Each thread
OF variegated hucs. Now. let them use and in.
tensify such an effect, and II wohld obviate
see. ard would te extremely harmonious while
frankly mprrssionistic
There is evidently u chance for n legion Of
ambitious but limited painters TO spec'alizc in
the line Of night effects. /, for myself, like the
sun best, and feel quite satisfied with 1T as "A
keynote. But | refer to efforts such a. those
embodied In the work Of the Newlyn school, in
its branching of from the Julien school. IL
iishts blend on the canvas IvitSt.U with here and there
O crude contrast, snch as. the tender light of
the rising moon against the burning crimson
what is truth, is an old cry. but shall we
take the gospel from, the mere impressionistt
need not wander far In vain search for lighting
that is novel, yet as true rs the sunshine itself.
The craving TOR truth should be the final test
of himself with every painter. 1t was for this
that Corot planted his easel by the river or in
the woods. II was for this that Bastien Lee
page drew PASTORAL life on the spot. 1t is for
this that we portrait painters put our s%itters
their own surroundings. Is it not also
for this then that night subjects Or artidciaIly
equivalent conditions. II they are to be finely
and strongly accurate2
IN i Will nDt Idululc III. Itl IHC a. OlNt
more that. thanks to my method OF using the
incandescent light. we have now twenty-four
hours to paint in by the same light. We get a
wonderfully easy concentration OF the. light on
a most desired expression or part. We get an
absolutely steady light. We enjoy an absence
of black. We have the possibility of recording
with greater truth all the beautiful effects
that n painter revels in after the sun has set;
and more than anything else, we have the glori'
Gus freedom OF heinR able to work at any hour
of the day or night when one feels the impulse
on. and when one I nglcs with the ideas
that must Da rDmmitfnd AT once TO cAnIaSp or
forever lose the. bloom and freshness of their
creative originality" T. c. MARTIN.