Lewiston teller. [volume] (Lewiston, North Idaho) 1878-1900, 1896-09-10

|NlA& ~ chance to wheel
W. WN~D along some country
~ ". lane and see god
- dess in the attire
effected on one oc-
casion by Lady Godiva OF Coventry you
must not be surprised or indignant.
| 1t is only the development OF new
artistic idea. the results of which, the
artists Will tell you, will enable the
painter to achieve color effects that it
is impossible to obtain by painting
from the model in the studio.
| The north light of the studio is not
the light of nature. 1t has not the
clarity of the light Of out-ofdoors, and
it falls upon the model and brings out
tones that are not naturallstic.
Because of all this it is reported that
many artists are going this summer to
set up their easels in the woods or by
the sea, there to paint from the mode!
in the bright or soitened lght of out
of-doors, that never enters any studio
The naturalistic painters are the ones
that are going to do this sort OF thing.
The idea is, as might be fancied, not
American. but French.
Startling as this may appear. the ar
tisric mind is prepared for il by the
Partisan precedent. Ado.ph LaZar, a
painter occupying a studio in the Paris
Latin quarter made necessity the
mother OF invention. Half a dozen
years ago he was in despair He had
conceived the idea of the picture of a
nymph which he hoped to exhibit in
the salon. The early sketches were
made and his model secured
Where to paint his picture vas a
question that puzzled him. The light
in his studio was white enough. but it
was not the light the artist desired,
and that he thought must have fallen
upon the nym4hs of old. He must ap-
proximate that light as closely as pos
sible
Where could he secure it? Nowhere
better, he argued, than in the woods.
So he picked out spot, intending to
make his studies there and finish the
painting at home. And it was in the
woods that 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 its way
through the leafy screen to the
ground?"
And Lazar did this. Day after day
his model was posed by the banks of g
little stream, and the result of his work
was picture which Interpreted per
fectly the natural flesh tints, the soft
sunlight on graceful limbs, the lights
and shadows of the human figure seer
in the open air and under the trees
The painting was a success. 1t was
discussed by the world of art, and
solved a question that had perplexe(
artists for years.
The solution was so simple that i
had not been thought of before. Thou
sands and thousands of thousands O
dollars had been spent in fitting ny
elaborate studios containing not onl!
roofs but sides and fronts of glass
Other studios were built on the roof
Of houses, all to obtain the coveted
natural light of the woods, but Their,
was always something lacking. Lazar
the struggling artist, settled all ques
! tions by going direct TO nature.
No secret was made Of the manner il
; which the perfect tones of Lazar
nymph had been obtained In a month
half dozen artists were posing un
draped models in as many points of tn
woods about Paris. One of the frs
. models to be taken to the woods wa
, the famous Sarah Brown She was tn
:, idea was boon to models. The air no
L only had a beneficial effect on her. sh
, found. but removed half the fatigue O
- posing for length of time in a Difficult
attitude.
Beyond Paris. in France. the ide
= spread rapidly. Nowhere however, di
it become so popular as at Gree, nea
= the river, the scenery there being par
ticularly beautiful. The French ar
fists. who take readily to any ney
method. no matter how freakish
8 grasped this upon the instant. From
. no quarter was the slightest objection
:, heard.
!, One artist at Gree posed his undrape
model in his back yard beneath a crap
!. arbor. The artists mother had TO
;, years been in the custom of sitting at
- rear window to watch her son paint i
:. the back yard. and still remained there
They look upon that sort OF thing diff
ferently abroad than here.
| .Ie,v