The Indianapolis journal. [volume] (Indianapolis [Ind.]) 1867-1904, 1904-03-13

"a 1 once asked what he mixed with
his colors. The answer was swift
fHSHTfi and curt, 'brainsi" And the reply
is a correct one, so far as it
covered the question. Seriously speaking.
however it requires considerable more
than brains to prove the title of
portrait painter, as it's decidedly a speciality
and. OF all branches of the art of painting,
ranks the highest
1t is, of course, easily understood that the
early processes of development are prac-
tically the same in the life of one destined
to be painter of portraits, as in any other
specialized form of expression, for that is
just what painting means to the true
artist; and the requirement of technical
ability, the years of preparation can be we'll
passed over as common to all students.
whatever branch of the fine arts they may
individually pursue later.
Given the manual dexterity, therefore, to
it must be added what can never be ac-
quired. but which is Unborn, namely, a
power of physiological analysis. deep and
penetrating intuition, a quick grasp of the
salient points of character in the individual.
The faculty of conversation, bringing out all
he life of the subject, an absolute ignoring
VI the way il is done''-the hand thorough
y responsive to the acute action of the
mind, and on this last point too much
stress cannot be laid, for the interference
of matter over the mind is a bar to sue
cess. To study and question, fuss and worry,
experiment and work over and over, is quite
sufficient evidence that the education of the
artist is not complete-the technical side
must be kept subordinate and closely re-
sponsive to the mental process; the sudden
and fleeing but characteristic expression
must be caught. The subtle and fugitive
spirit requires a sort of divination, and
especially so is this the case with portraits
of women.
If not the only, yet the most essential
quality of a portrait is the likeness. We
want to have before us the faces Of our
loved ones, just as real as it is possible
to have them, not clouded over by what
may merely be a temporary fashion of
painting, the result being a picture, rather
than a portrait. yet this does not mean
that the pictorial should be ignored. and
a mere semblance sought for. Every sub
ject suggests certain pictorial possibilities
which should be included with the likeness,
accessory to it. and enhancing the charm
OF the result In tnlS way pOTlTdllS nave d
far wider circle of admirers than the small
one formed of the family and intimate
friends. For this, and because of this, quite
apart from the reputation of the painter,
some of the most loved canvases in the
world to-day are in reality but portraits.
Generally speaking. a portrait should be
a document a type of particular period,
summing up in itself the age it represents,
and one is convinced of this when looking
at the stern old Hollanders of Rembrandts
day, the beauties of the glorious era of
Venitian power, or at the bewitching DANES
of the court of England, painted by Van
Dyke. They are all human documents.
true of their day and generation, immensely
interesting to us. full of life and vigor
/ have mentioned three types of por-
traits, but if we should see the same in
dividual portrayed on canvas by Rem