The Wichita daily eagle., 1897-12-09
The ahits 9sfp ursaay gHorn 4eeember g. 1897

dluuScu II ne CSu@U nave lOOkSQ N aDOui
ahat time
1T also requires quite elaborate prepa-
rations TO pose for ceiling decoration.
a model poses on what is known as q
model stand This is simply a pta:-
form. But q great amount OF foresrort-
ening is required in tae figures OF cell
ing decoration. II an artist were to
paint me seated upon model stand o.
rojinary height / would look when put
on the ceiling as If / were going 10 tnIn-
BILE down. Now TO avoid this. an artist
who is painting on a ceiling decoratir-
is obliged to construct a model sta 4
certainly almost as high as the ceiling
OF his own studio. In that way ne OBJ
,ains the requisite amount Of toreshort-
ening
You ask me why have been a favor
ite model with artists. II seems to me
/ 1 have been throwing good many
flowers at myself already. But will
tell you what 1 have heard from artists.
They say that I seem to have inteEi-
gence-artistic temperament, / suppose.
They seem 30 think that l suggest in
my poses the feeling they want 10 get
Z
effect they wish to produce
Mr. Simmons used me as a model in
his Resurrection He was painting the
figure of the Magdalen. He asked me TO
kneel and 30 bend over as IL l were
kissing the hem OF the Savior's garments.
When 1 took the pose, me told me L mad
taken ii in exactly the way in which he
wanted it. In fact painters have told
me that 1 seem to get the hang OF the
from their first suggestion.
.I have never posed at art schools
and very rarely for women artists l
don't care to pose for women, because
1 think they are less considerate OF their
models than men are. The art schools
I've never posed for, because 1 don't
care to pose at wholesale, so 30 speak.
l have also been most careful what art
lists have posed for. think 1 can say
that I have ngaged myself as mooei
only to the very best in this country.
There is certain amount OF reciprocal
art feeling between painter and modei'
and [ don't trink there is any DOUBT
that a bood model Will deteriorate II
she poses too often for a mediocre
painter.
you have no idea how wrapt artists
become in their work. The time during
which amodel is posing for an artist
will often pass without a ovrd being ex-
changed between them They tell
story of sculptor vino was modelling
from an extremely well shaped model.
During the work. however, she talked
He never sent for her again. Wnen
asked the reason, ne said, Statues
never speak Nor do artists have any
use for models who are in any way as
harned OF their calling. They regard 1t
as an honorable one. and their attitude
toward their models Is as respectfui as
that OF a respectful physician toward
his women patients.
81 suppose there are about one num-
dred artists models in this city. L
ought to know by this time how much
a model receives, and when I am told OF
some models who receive $40 day, l
say tha tbs adj 'tommyrot.' A model re-
ceives so cents an hour. or s3 for q day
OF six ;horts. No model gets cent
more from a serious worker. / never
posed for any but serious workers, for
I don't care to becarfcatured. There are
a lot of society fellows in town who like
to pose as artists, whose 'studioS are
usually gorgeously appointed, but
whose paintings are enough TO make
Rome howl. Now these buffers as
we call them. may pay models $40 day,
but its the kind OF engagement which
means come any old time and case
Of luncheon or supper. Oh. I've had in
numerab BILE tletters from buffers but
I've never answered one OF them.
'What may perhaps strike you az
curious feature OF a models occupation
is chr posing for an artist who is paint
ing a portrait OF some one else.People
who can afford to have their portraits
painted are capricious; they don't want
to give long sittings, because they have
other gements. So after the ratist
has caught the expression OF the face,
he will often call in a model to pose fer
the figure.
"Then, too, you know, if aweslthy
happens 10 have an ugly neck or should
ers it's just as well not to say 50 in the
picture. She simply sits for her feat
ures, and the artist lengages a mode
with a fine neck and shoulders 10 sit
for these. 1 couldn't tell you how many
society women l have Helped 70 fill
out SO to speak. could give you
some names which would surprise you,
but I won't do II. The artists tel me
1 am one OF the few models who know
how 10 hold their tongues. though I
seem 10 have been letting nine run
along at a pretty lively rate tie last
quarter os an hour.
'It isn't only for portraits. though, |
that an artist requires several models. |
Often he paints from three to four mod |
els for one figure on his canvas. Ere
quenily a model has just some one /
point os physical excellence One modA /
IS known for her coloC5nZ. another for 1
ner hands. another FOR her hair. another /
for her neck and shoulders.
IN an artists address book you wiz 1
cften find a models characteristics no
ted after le- name, for instance: So and 4
So. good hand; So and So. arms; So and 1
So, feet But 1 don't think you VIII 4
ever find So and SO. 'T-flby.'
81 l1eve sometimes heard X said tina; 1
aoroad when an artist finds good mod
el he Is apt 70 marry her in order %
save the expenses os hiring hsr. TIE
only instance can recall here didn't
save any expense. For. after the artist
married his model she didn't car 70 pose
any more. Posing was work. and sae
hadn't married toT t1zs- 50 he rad 70