New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1898-06-26
PAINTING ~ ENiHLL'>.

L. q
rh .r,mclcr ~ IA" present daN ~, .ar,,
,,~t .hod.s Of color. liut the 'nAii''S 'nr'
a. hardness that Is. som" i"s' 49,, ~ ,r.e,
,har others and thereon h''ht9 ~" ,,,..,,ld n.
d,ni.ulf, I'm the manipulation SUN ~ ,,,,,c
u''' - a.. TRANSPARENT. and some "p'I"'.
n. .,n nix. IAN hc ihinn"d down WIN luz
n,l,ss, AS water .colois WITH "a",' Nt,tr
Y,,..,,..,. can h.. mixed. or overland. J"Nl q"
''','''' nj, ,f,,. MAY have To be- subject'H 10
-, or, fer 20 nfic"n times before IL y ' t,
nctcl T. win now be- understood ,ha' - r ,ir.
sii,cess'ullt lr "nan"i~ "Nd' Ii' i =, roth
,,,,l ls imperative. and such plinh'nE - -.
,.,n,.,i. ,,d irkenfue o. the artist. bnt uh''SS
ry.rv stage 81 thc work IL car'iuily caI'u'. ,,
49, ,.euff is an almost ain failure h"' ,u.''
~. rr.a, difnDulty lies in the hrinE DIX III i'''
niur tho application - ne dIn'i'n' '"''' V,hno
r,rd.rr g. th,ir power ~ r"-"ndui ih''. W n.,
Is, mo multi, or kiln 'h' work can nc "'''n'u
d.. , fr.In.rt opening ~ IN" door ana ""'"
3D. 'f..,. ..,....,rq ,he iriue is sufficient lhlS -
an no. i,. f, iudl,, ar that time. for "nam,
.. l.... ,.a.- .frolrh eirauFe mutations "h'h I'll
d., .,i ln not recover their or gInM character
~ ,,l., iirin cold II would ho useless IN m
artI.i. az ihi. KIND especially meant f"r ihlU'n
T.. hc tlu t.chnI' al. or O." ." INT" iu's,'
tho i.anuftciur, 81 enamcls. But must s"En'-
d, touch this sid. 81 the subject ~ ord'r I" 'N-
,t.. . r,...t ,.,.,.r fauf AT renee between me
,,'.,.i. rrur.f. go called. and the yitrihed
Pc .uis used f,r shat was formerly termed MN
lafufr enamel" painting
I..n,rl l. fr1ou- in the most renowned enamel
Ter ~ the sixteenth century. was already IN pos
s.s.iou ~ a f,v 81 thcs, yitrih"d paints lie MADE
SOM. important 'NffflfN'i'~. on a Ih'"'i i'''-'
scale az raiutiur With these colors on Whlte
Ground ~ enamel. resulting only IN ih' appear
ancc - pottery painting Nobody foll""ca on
his experiments until i'm lG32. Jean Toutln IN
vented a most extensive palcu" OF these '"lprS
which started miniature enamel painting pU'r-
INK no more diniculfic' IN manipulation than the
water cnlDrs on ivory or parchment. II soon
killed the Older and more dinicul manipulation
with cnaruols wish TO emphasize the diT"r-
cncc between tn" two kinds 81 enamel. because
even i'm TIA" limited modern revival l.imousins
bad habit of stippling up tho faces of his p"r-
traits with such paints" applying pure enamel
ONLY 10 the broad tones Of background ana
clothes has been carried To such "A length. with
the greater number Of vitrinod cOors AZ ones
disposal that all chance Of further development
~ the greater and nohlcr material the use OF
which almost ceased In the seventeenth century,
rs hoprlcssly at a standstill The result In quail
itV * only. IL were. combination or enamel
and china painting For the highest evolution
Of enamclng II is the "substantial' enamel
that must bc experimental with. and primarily
to succeed in the realization OF ncsh-color the
criterion OF all painting But in true flesh paint
ing las the artist understands III both the old
ard the new workers have sgnally failed. Wit
riicd paints with their china painting" char
actor will not give it, and the old masters failed
with enamcls. But cmphatically declare il can
be obtained with transparent substantial
cnlmcls and that must be the first triumph OF
the new renaissance in painting In enamel
what painter in oils Watcr-colors for in
stance. would not wish to produce in these me
diums nude figure that was at once high I'm
key and low in tone? This desirable effect can
be obtained in cnamels. and go far as to say
only In enamcls. but there must be no mixing
up OF this china painting. Should A yitrified
paint render service for what We painters call
under painting well and good (proyiding II
stands the hring), but there its use should end