The Salt Lake herald. [volume] (Salt Lake City [Utah]) 1870-1909, 1899-12-26

tracted the attention of King George
III. Pictures sent to the Royal aca-
denny and portraits of distinguished
men and women gave Gainsborough
vogue, so that he felt compelled TO re-
turn to London and make the most OF
his talents in material way. Thither
in IVA he went, establishing himself in
part of handsome residence in, Pail
Mall. Almost at once the king sent for
him and had him paint the portraits
Of himself and the queen; aristocracy
followed suit, and before long the
painter was overwhelmed with COM
missions.
About 1873 there was produced the
famous portrait of Master. Buttall.
known as The Blue Boy" one OF his
masterpieces, and said at the time to
have been painted as a practical refu-
tation of Reynolds dictum that in the
masses of light in a picture the cool
colorS should be kept subordinate. Now
the lad was clothed in a suit of blue
from head 10 foot, and, as there is lit
tie warmth in that tone, the success of
the experiment was somewhat against
the theories of the older man. The story
is an interesting one, but it is feared
there is really little foundation for it.
However. it is beautiful picture that
the man evolved, and it is highly prob
able that it was inspired solely by a
love Of daring in art. The original is
is the possession of the Duke of West
minister; a replica, about which there
has been some dispute. is now owned
in this country. All this time many
landscapes were exhibited, and the
critics were widely at variance as to
their merits, as were the public as WELL
This was to the chagrin of the artist,
who desired success no less for his work
after nature out of doors than for his
figure compositions or portraits; but it
was not to be, ard his ambition in this
direction was never realized, for, al
though the world has come to admire
his landscape work, it is in portraiture
that his efforts are best appreciated,
and on this rests his claim to fame.
The landscape work shows the inspira-
ton of the school of Claud, and is a
mingling OF the classic with the realis-
tic. The compositions are somewhat
conventional, and the forms of the
trees are nearly always preconceived,
but the color and the feeling are of the
first order. Still. as compared with his
portraits they have neither the power,
the distinction nor the convincing quail
tiles that are pre-eminent there, and
they must Of necessity take second
place. OF few extravagant habits,
Gainsborough's splendid income suf-
feed for all his wants. He spent freely
ments, for which he had aspassion, and
at his death he left quitesa collection;
and, as has been said, he was con-
vivial, but even in this his extrava-
gance was mild He died in July. 1888.
from cancer. Sir Joshua Reynolds was
sent for, and generously forgetting the
breach between them. came at once and
was with him as he passed away His
last words were: I'VE are all going TO
heaven, and Van Dyck is of the party"
Although exceedingly dexterous with
his materials, Gainsborough set the
| highest standards for himself, being
most particular and painstaking in all
| he did. 1t not infrequently happened
that he destroyed before his sitters por-
traits that were eminently satisfactory
to them, exclaiming that he could not
! get that which. he was after; he main
tanned a most dignifed position in re-
gard to his art and his professional
standing, not hesitating to resent ar
rogance or familiarity even with the
most important patrons. many of
whom were bowed out of the studio
never to be permitted 10 re-enter under
any circumstances He was perfectly
devoted to his art. and would often af-
ter hard days work spend the entire
| evening amusing himself painting by
candlelight. Indeed, Reynolds, refer
ring to this, thought possibly the habit
of working at night disclosed to him
many secrets OF color. for he main
tanned by candlelight not only OBJ
jects appeared more beautiful, but
their being in a greater breadth OF
| light and shadow, as we'll as having a
greater breadth of uniformity Of color,
nature appears in a higher style, even
4 the flesh seeming to take a richer and
higher COLOR The splendor Of Gains
| borough's color was not equaled by any
| of his contemporaries. and the distinc-
! ton he gave to his portraits was
unique Like all geniuses, he was un-
! even, and 1t not infrequently happened
! that his drawing was at fault. 1t was
| in the portraits Of women that he was
/ particularly successful, for he gave TO
! femininity all of it's charm, refinement