The St. Louis Republic. [volume] (St. Louis, Mo.) 1888-1919, 1903-02-08

WRITTEN FOR THE SUNDAY REPUBLIC.
MI. and Mrs. Frank ]. Gould recently sat
1 for their portraits TO a young Italian ar
! fist. Pilade Bertieri. who is comparatively
unknown In this country.
| The beauty OF his work and the rare art
he possesses of not sacrificing truth to the
ideal were no doubt greatly responsible for
the commission which gave this artist an
opportunity to paint a typical American
young woman.
Oil is the medium used TO embody his
creations. and though the portraits are
| conventional and modern Mr.. Bertieri has
succeeded In imparting to the feminine
figure a touch which finds its source only in
opponents of the old school, such as Nalas-
quez and Rembrandt.
Though the artist was for some time Il
| student of a celebrated impressionist, there
Ia little in either OF his latest works that
suggests this broad and effective style.
On the contrary, the exquisite blending OF
the flesh tints and the delicate textures of
the apparel remind one OF that wonderful
completeness of detail and finish seen in an
Alma-Tadema.
THE COMPOSITION.
The portrait of Mrs. Gould represents her
seated in q chair. the outline of which Is
| hidden beneath the flowing draperies Of her
costume.
Her dress Is of a black velvet. plain ana
severe in lines, while the decoiletase Is re-
ieved in front by a bit of fimy White lace.
The dusky hue of her gown and the long
| midnight piumes surrounding her GAINS
borough hat serve to heisnten the pearly
wniteness of throat ana arms and en-
| phaslze the goiden CLINT OF her rounded
| pompadour.
| Across her shoulders falls i large evening
| coat, of i blue to mach the sapphire tint of
the eyes and with 4 lining OF paie warm
| pink. One hand is yeiied beneath the cob
webby lace which falls down the front Of
| this coat, while the other drops careiessiy
| and gracefully at her side.
The dellcaleiy moioed wrist, the long,
| tapeting fingers and sheli-tinted nails might
| almost have been executed by that famous
| Bavarian painter of hands, Lenbach.
The blue eyes. limpid and serene, lock out
| from the canvas with an expression of I'M
| affected straightforwardness, which is Il de-
| lightful characteristic of modern symbolism
of femininity.
In coloring the portrait is a harmonious
composition Of pink, blue and yellow, with
| black and white for contrast.
| The combination Of evening dress and pic
ture hat is another example of 4 style. the
effectiveness of which was SO Thoroughly
| appreciated by the early members of the
| Royal Academy.
| The portrait of MIR. Gould presents rather
a striking contrast to the bIiliiancy of his
wife's. He Is dressed III u conventional bust
ness suit, and sits in an easy posture. witt
his hands ciasped on his knees. Anectation
Is absent from every line.
DIFFICULTIES OVERCOME.
1t is far more difficult to paint an attrac-
tive portrait of a man than of a woman.
The artist has no soft lines. no gossamer
textures and no appealing tints to help him
in his effort to challenge the senses. He
must rely almost wholly upon the attitude
and facial expression OK his subject.
In this respect MIR. Bertieri appears to
have been particularly fortunate. for the
eyes possess a world of repose and gentle
ness that forms the light ~ the picture.
The somber tone and severity of style
are lost sight of. while the charm with
which the painter has handled his colors
attracts the eye. though in a different way
ness OF the woman's does.
Mr.. Bertieri has been in thi. country
scarcely more than one year. His home is
III Turin. Italy. where he sG..died for some
time with Giacomo Crosse, an impression
list. His association with this artist was
more for the sake OF drawing than for
style of expression. In color and disregard
OF detail his works show The mnueu,, n,
the old masters. while ut the same time no
Is a careful student OF John s. Sargent and
others Of the modern school.
He is only 2 years old. and has exb;b;ted
in the Paris Salon. One of his pictures. III
Conforto.' was purchased by the Italian