The Indianapolis journal. [volume] (Indianapolis [Ind.]) 1867-1904, 1904-03-13
The Perfect Portrait Means First
A Likeness, Then Something More
The True Artist Must II
Have an Unborn Talent
for the Work and Must
Inevitably Put Some II
thing of His Own Per-
sonalityInto Each Picture

to assume? What is more mobile than a
woman's face? 1t is one expression now;
in an instant all is changed, like the lights
and shadows on the surface of the stream.
In mans portrait, it is a case of selection
as TO attitude and expression. Is he a man
in public life and is his portrait to be placed
in the Statehouse? Or is he to be painted
for his family? This has a bearing on
the question of determining the artist in his
conception. Every line in the portrait tends
in one direction. and whatever the mood
of the sitter. the ultimate result to be at
tanned must not be lost to view.
1t happens that the conception Of the
man goes far deeper than even intimate
friends are apt to penetrate, and certain
points stand out in plain relief on the can
vas that may have hitherto been concealed,
or at least not noticed; in fact, if the sitter
is regarded as a document. whose person
atty is formed by his environment, then the
truth of the facts set forth should be APP
parent and produce conviction, not alone in
the head but in the hands, for in a mans
portrait they tell all there is to tell, In
woman's portrait the accessories play far
more important part, the background, the
soft draperies, the scheme of color. jewels
all should be foils to enhance the charms
of the sitter; and whatever is done with this
underlying motive, be it understood, should
merely take it's place. not obtrude and catch
the eye as the first claim upon attention.
The portrait of a woman should, above
all, be womanly, and partake of the charm
of the sex; it should be brilliant and spark
ling if of a young woman. tender and loving
if of an old one A delicacy and refinement
of touch should characterize the work; the
brush should play lightly and easily over
hair, face and BOSOM An atmosphere
should surround it all; an atmos-
phere which seems to envelope the
spectator, so that he enters into
the spirit of the work and partakes, in
measure of the actual JOY of creation. In
a man, all should be different, for bold.
quick. energetic strokes, each touch leav-
ing its mark of line and character, must
clearly be the mood In a mans portrait
there is less tendency or wish to generalize;
in a womans. all effort tends to generaliza-
ton, and the result is composite impress
sion, for the type of modern woman is of
all moods and impulses. but exquisite al
ways. One of the tendencies of the day
is for American women to sit to foreign
this is one of the most absurd. The re-
suits prove the statement No one but an
American can comprehend the American
girl. so far it is possible to comprehend
this most fascinating of all created wom-
en-, and to CINE for one moment that she
can be represented upon canvas by
Frenchman or any of the overseas portrait
painters. is to try to imagine an impossi-
bilty. The thing is beyond their compre-
hension. They are masters of their art so
far as technique goes. and can render the
superficial to perfection, but to fix on cam
vas anything outside of mere prettiness is
quite beyond their grasp. And we all know
the American girl is something more than
pretty
In what / have stated, / think it will be
seen that there is a great deal to be con-
sidered in a portrait besides the likeness,
admittedly an essential, but not by any
means all that is required
WALTER GILMAN PAGE.