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

Of art can give us something like it. yet superior
in the finer and higher harmonies of light and
color, The ~ln~i~tcnt Intensity of their high
lights Will be of considerably greater bril-
liancy. while the dark tones nre more confused
vantage Of being truer TO nature. We do not
want discI,rd but antiphony, which pleases the
"One more word before getting down to the
colors themselves. our eye l. at best q very
hcen taught so long I" look for certain things
that II they are, not there it insists on seeing
,h%m 'p W. t.N,Yy I 1t !; a a. sl1 MSo Of Its ss,e S1qea at.
our palette to express the light or shade OF
what we want to paint; and 1t is only by intcn.
sombre effect. When we SCI an effect by arti'
fetal light, we see it with the whole scale, for
W, have not a piece of daylight to carry around
with Us in our pockets rs a contrast or TO re-
fresh the memory with.
Nov, applying this practically, heretofore
a picture painted. by artificial light has. in spite
often of the artist, been unpleasantly orange
~ nS Of EnT p Z rt, %mn , ,he, observer irc ~ rd fGs'S on me @ SiI "A ib he
other. Until quite lately this has been nwk-
ward, for The reason that the progress OF the
electric light has perlnitted the throwing open
OF art galleries which had been rellCtously
closed at dusk. Tho smoke of candles, the
fire forbade night opening, but now, one after
the other, the great galleries are becoming poo
ular resorts az night for the million lovers of
ures by their day work.
Now. where, you ask, does the artist find
himself under these new cnnditlOnsf Tan his
picture remain pleasing and true II seen by day
light and again by night, light? II SO he stands
Likely to win favor donbly; whereas, II by one
prcludiced. You will observe that. this Is a
my new method is its solution. 4 picture
painted with the light | have described comes
up much better by night. and Is more vibrant
and LIVING. than a picture painted by daylight;
yet, seen in the DAYTIME. that same picture Is
more generally satisfactory 70 the conditions
then TO lie met. md In general effect is not out
OF harmony with the day and ray.
~ yoH mean thst an arI,st should PAM
casual puhlicf'
"Uh. no. The argument | advance applies ms
much 10 tho cultivated taste OF tho connoisseur
and expert. Al other things being equal. II
you have a picture IN y"ur, gallery or dining
picture can he cuioyed as II feast to the eye
and Judgment at every hour Of the day,
departure, for until the electric light was de
t." ltsr.ngqi,h yellow from white or blue from
green, and thus at some stage or another all
tie WORK IN a great picture might riuS false,
THE rules, after all. cannot b" easy, then,
for Practice
II can only say that when | first took this
new development up. it cost me, three months
OF struggle, and my protracted effort TO get
there, as you Americans pat. IT, ended ~ .
spell O! ]ucryous pro,!rution, Il may be that
no record OF their work, Personally, T. speak
n all iP"4es s6 | l nSy% Ts iHf1, ' IisI + so Ts!l
| give the mcthod publicity for the serious
consideration OF gll painters. | feel sure that
some amOnR tlem vii, ~ lar h"yond me, and
viii ue.lve pleasure aud benefit from II.
"A few hints, however, from Il pioneer will
perhaps tie appreciated; although | may re-
mark That as time goes. Oh | reach new data,
FirHt OF all | shelter my eyes by means Of my
Rembrandt gap and by a hanging screen. thus
hiding the liEht That illuwinates my 5uhirct,
Another slmiluy ight, ~ already slatrd, .lguts
up my canvas and palette, being above and be-
hind me. lieuc" all lights are mi Of the direct
runSr OF my eye. Some quicSly CvaporGt!ng
yellow ~ mixed with my white, handle In
The 'le-u tlnts uY rd'".iuIn, white, and YER
million with care. They VIII AZ first hook yell
lu'yish. hut IA painting you Will discover that
the h.Xh lights that lie On top ~ his }elluwIsh
groUui are o ross white; with the third super
position IN tie highest lights, ~ a blush or
Greeuish white. The three superpositiuns give
a daJ effect on my canvas, a strong. vibrant
mesh effect AS light rs II painted in the day
time. IL IS no mere gloss on the skin, but YOU
feel the loft pulse, of warm, red blood Ia the
veins beneath; aud the portrait lives, | ind
that t4e. blues are %bFOwner, and that the
shadows in the white arc not blue. intensity