The San Francisco call. [volume] (San Francisco [Calif.]) 1895-1913, 1899-12-19

tectural establishment. But when II be-
came desirable TO produce works destined
for different purpose-pictures that
might be easily portable-portraits OF in
dividuals for the adornment Of the
home, and illustrations OF themes for the
personal qualification and pleasure they
may give-a new method was wanted.
one capable Of recording the wider range
OF physical facts which now revealed
themselves TO the observation and scru-
tiny OF the artist. With increased ac-
quaintance on the part OF the painter
OF visual effects in the world about him
came like advance in the means OF re-
cording them. and we find that painting
in distemper came into practice. This
called for the employment Of glue and the
yelk of egg in the mixing OF colors, and
pigments thus prepared could be used
over dry walls and wood and canvas.
This was not, however. its only recon-
mendation; II permitted the employment
of a greater number Of tints, greater
depths OF effects Of light and shade 10 be
attained. and gave to the artist a wider
scope in force and brilliancy OF color.
This larger liberty extended also to the
character of the themes depicted, and
art began to include I'm its repertory Of
subjects scenes from contemporary life
as well as those from biblical story.
Art, I'm a word, became more human,
although II was still retained in the
service OF the church. But with the
broadening OF the field II now entered
science, and observations and discovery
were still advancing, and the influences
OF the outside world were strengthening
the painters physical as we'll as mental
vision. Homely and familiar themes.
homely and familiar emotions. claimed
illustration at his hands, and with these
claims a still more convenient and ready
means OF expressing them was required
When the Van Eycks discovered. then,
this satisfactory and effective method OF
using pigments with oil a new world OF
possibilities was opened to the painter.
and IL was like a revelation 20 the lover
OF painting as well. for effects in nature
that were probably discerned and appre-
ciated BY many before art could render
them became now legitimate material for
graphic portrayal An exquisite variety
OF color-subtle or dramatic rendltions OF
light and shade, fine differentiations OF
textures. the resonance OF metal the rus
tie OF silk. the simmer OF satin, the fash
of diamonds, the glimmer OF pearls: in
fact, all the characteristics OF the vege-
table. animal or mineral kingdom that by
appeal TO the eye reveal It's density or
lightness, its texture or color-now be-
came the property of the painter. a store
house from which ne drew the materials
OF his art. The Van Eycks by freeing
painting OF it's technical restrictions ted
UP TO this. This then was the moment
when Dutch art became emancipated
and Franz Halls was the man who eman-
cipated IL.
/ think, for such a destiny. biography
has seemed strangely unfair TO this man.
Born at Antwerp. and not at Mechlin as
some writer's say. little appears regarding
his apprenticeship TO his art other than
that he is supposed 10 have studied with
Van Mander. OF social and genial dis
position, great stress has been laid upon
his fondness for the pleasures OF the tav-
ern, his improyidence and his too fire.
quent lapses from sobrlety. Yet he il re-
corded as belonging to several OF the hon.
orable guilds OF the town, and a pension
was awarded him by the city He lived
TO the ripe age OF 81. In addition to this
respectable record he has enriched the
world by some of the most mastery can
vases II has inherited from any hand.
Now II was in Franz Halls, as / have
said. that this capitalization eliminated
for he thus marked, as IL were, techni-
cally. the cumulative point in Dutch
painting. Rembrandt, his immediate Euc-