Evening star., 1912-06-15

Sargent, which is owned by Mrs.
E. II. McCalla. Copley was not a suave
painter. but this portrait compares even
in style with works by Sir Joshua Rey-
nolds. Mrs. Sargent, a young matron.
slight Of figure but Of aristocratic bear
ing. is pictured standing in the recess of
a terrace beside a wall fountain. She
wears a gown of gray-green silk, with
long, pointed. low-cut bodice, elbow
sleeves and fun skirt trimmed. much in
the fashion of the present day, with puff
ings Of silk edged with gold. Full ruff1es
of lace fall from her sleeves: over her
shoulders Is a fine lace fichu, and around
her neck soft though prim little ruche.
The hair is very plainly dressed. being
drawn tightly and smoothly back from
the face with relentless austerity. In her
right hand Mrs. Sargent holds a drinking
cup in the form of shell beneath the
gushing water: with her left hand she
daintiiy draws back her gown to prevent
possible damage from the far-reaChing
spray. Tho pose is charming. the color
ing excellent. The face is expressive and
characterful. the flesh tint is transparent
and good: the modelling very subtle. The
hands are exquisitely painted, and in
deed. no one detail seems to have been
sighted. The textures are admirably
rendered-the quality of the silk and lace
can both be fairly adjudged and yet as
whole the picture Is broadly painted.
One does not observe detail first-primar
lily this is portrait and the personality
Of the sitter is dominant-but In the sum
ming up of tho whole the finish is found
significant To accomplish such a result
the painter must, OF necessity. have been
both a good artist and a skilled techni-
clan.
All of Copley's paintings were not SO
successful-indeed. q is to be questioned
If the majority were. His work invariably
had distinction, but as rule it was mere
ly yeracious, frank and sincere. AT
times it was faulty, laundering. imma-
ture. but even then virile. Even In the
portrait of Mrs. Sargent the painter was
not fiattering. 1t would have taken very
little to have given beauty to this lady
charms. and 1t is hard TO understand
how the painter could have resisted the
temp ptation TO render in concrete terms
he lovelness which character and per-
onality undoubtedly made patent to those
who knew the lady whose likeness he
transcribed. But above all things Copley
sas truthful, and consequently his por-
traits always carry conviction. That
they were first Of all likenesses there
seems no chance to doubt. With all this
sternness. however. a certain genteness
nay be noted. In this portrait there are
assages not only we'll but tenderly
anted as by one who found more than
timer occupation or remuneration in his
York. This is the touch of art without
shch nothing which is created can live.
is this which gives universal appeal.
Copley. II will be remembered, was
orn in Boston in 1877. He first learned
:ood engraving from his stepfather.
'eter Pelham. and began painting when
ute a youth on his own initiative and
vithout instruction. The barrenness of
lie period to which he belonged Is al
lost inconceivable today: his talent was
s an almost solitary flower blossoming
n a desert. But 1t did not only bios
ON. for IT found appreciation. There
something very engaging about the
tory Of his life as a portrait painter
Boston. holding simple court. as 1t
gere. in his modest farmhouse home on
Seacon Hill. SO successful was Copley
hat he had as many orders as he could
, .xecute. yet the hunger for comrade-
, ship made him turn his back on all this
md sail away to England. which was
hen the artists mecca. Good fortune
followed him there: he secured the
patronage of the crown. and was adj
mitted into the highest circles. His
large canvases were not, however. as
Interesting or notable as his smaller
ones; il is for his portraits rather than