The times. [volume] (Washington [D.C.]) 1897-1901, 1900-12-11

observed with delicacy and sensitiyeness
while all are forceful in contrasting
| masses. In truth Mr. Jeffersons worl
ranks with the best in those higher quail
ties without which a picture. no matter
how famous the name ii bears, becomes
tame and uninteresting.
| Mr.. Jefferson's pleasure was good to see
! Really" he began. unframed and pilet
! up around the studio did not think they
| amounted to much but / enjoyed doing
| them. and they are like lot Of children
! one is naturally attached to. You ask
me which / consider my best. Well,
cannot say; ! don't know. / like some
thing in this one and something in that
but / cannot tell which one / like most
In fact, you can say, my dear boy. that
/ don't think an artist is good judge
of his own work.
AS to his remarks upon my review Of his
pictures in The Times Of Sunday last.
modesty forbids my repeating them. but
my guide. philosopher. and friend who
stood by observed earnestly, TOO gush-
ing" Mr.. Jefferson's eyes twinkled and
one of them winked knowingly at me.
Gushing? May not that be pardoned in
a painter who, on that proud day, IN a
prosperous Ohio town. thirty-two years
ago, when he put on long pants" for
the first time, went to see Joe Jefferson
play rip Van Winkle''-and I am only
one of thousands of American boys who
almost idolize him for his manliness.
Gushing? Well, Carlyle said. 1T is not
what have but what I do is my king
DOM" 1t is what Jefferson is and has
done which makes me his willing subject.
Mr. Jefferson said he was greatly pleased
with the handsome manner in which the
collection had been presented by the
vrI hi
very ffattering way in which this second
exhibition has been taken by the public
and the press is, of course. very crafty
ing. but. after all, the greatest joy is in
the doing. 1t is the pleasantest sort OF
relaxation, and also most fitting indoor
recreation for man who lives as l do,
mostly out of doors"
In Richard N. Brookes' studio some
years ago the great actor-palnter was en-
tertaining us with some fine glimpses OF
1.-The open secret" One illustration has
remained in my memory as guiding
light. 1t was the brilliant actors recital
of that passage from the famous play,
Lend Me Five Shillings." which Illus
trated graphically the value of leaving
something incomplete in a picture either
on the stage or on canvas as a cue for
the Imagination. Everyone who has seen
the play will recall the wonderful change
OF expression which comes over the race
of the detected man seeking loan when
suddenly he discovers the money in his
own pockets. The look of surprise and
delight that flashed across the great
actors face was Observation-Disclosures one
had time to anaiyze it ne had turned conl-
pletely around and sauntered snyly away
across the studio; his hands. though cb-
scured in the pockets. were plainly clutch
ing tightly the newfound coin.
II have been asked said he. why
turned away from the audience at that
for my facial expression was so
That is just the point. BY
turning / left the observer to finish the
expression to the limit of his imagination.
That is art. and it is so in pictures. Put
in everything you see, your best effort Is
!. tight. hard. lifeless thing; but put in
only the beauty of your scene as you feel
II. with little cues here and there, and al
in an inviting tone, then your picture can
not be exhausted at 4 glance It Is as
beautiful as your experience. knowledge.
and love Of nature are able to follow out
the cues on the canvas. Tone is nothing
but harmony. II is like music: without
harmony music Is discordant. Ind so j.
is with pictures-without tone they may