New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-08-09

natural effects with the mud splashings
had painted on the boots Of my cavalry
men.
Probably the most painfully conscien.
tious artist in thi, respect was Alcissonier
He spared neither time nor expense 70
achieve what he deemed % be- the most
realistic effects. The snowy road in his
Napoleon in 1914" he obtained in this
manner:
He had constructed a low platform. about
a yard and q half square. and on this he
modelled I'm clay the scene he wished TO de-
pict, mud, and ruts. lie kneaded
the clay and pushed across it several time,
up and down, q cannon. With @ shOd boot
he then pressed down the marks Of the
horses feet. Over this effect De spread -four.
and the cannon was again brought into
requisition being pushed here and there
until there was obtained a semblance %
a real road. He then sprayed the whole
with salt 20 get the effect Of the brilliance
of snow.
Vcreshchagin complimented the French
artist on his ingenuity; but laughed at DE
needless trouble he had put upon himself
" You should have taken q trip TO Russia,
said the Aluscovite where nearly every
road is dug in the way you have represented.
Thus you would have been able % study
directly from nature
On another occasion, when the ldDOnoU
Mcissonier was DESTROYS Of including a wheat
field in a battle scene, he actually went to the
extent Of buying a field of growing wheat,
and obtained permission from the French
Government % send a squadron OF cavalry
through it, thus enabling him 20 study the
exact effect OF wheat falling under the flying
boots.
Martini, the marine painter. has prae
tised his art under conditions thl, most men
would find not only uncomfortable but Tor
physical reasons impossible. This artist has
been known 90 arrange a large 1a sei either
at the end of the bowsprit or 40 Tie stern Of
a vessel, and then 20 crawl inside ordering
the sailors TO lower him a few De-. by means
Of a rope, where he would remain -spendei'
as the ship took its course, oh wing the
tumbling waters and taking rocg. notes Of
the scene for his skctchbook.
Martini, however, was not the Hr,t arts,
20 have recourse 20 this strenuous means Oh
improving his art. The great Turner On one
occasion, overtaken by a storm q ea, had
himself lashed 90 the mast, SO TIA. b. might
watch the storm without fear 10. pitching
into the turbulent waters.
That other great marine painter Nenet
is said always 90 have made 10 pou, % 90
out 20 sea whenever he could during The
raging Of a storm. II is even re'. red that
once when everyone on board Wa, 1rayng
for safe deliyerancc, Vernct, lash, 20 The
mast, gave uttcrdnce % eCstatic expressions
of delight and admiration 40 the giOr-
ious effect % produced by the umg,uous
sea.
Cameron, while painting his enormous
picture, Niagara in Winter" spcu. many
hours suspended from the cliffs a. iizzy
heights, his working chair being hung by a
single looped rope.
Leader, the landscape artist, acc0mp.
his Manchester Ship Canal az the risk Of
his life, being frequently surrounded by
flying stones and earth, the result Of blast.
ing operations. Then, too, he was attacked
bv a mob Of hoodlums intent on destroying
his work.
The great japanese artist Hyosai IS re-.
ported 10 have risked his life on numerous
occasions merely 10 procure a desired sketch.
During the great fire IN Toxic, be calmly set
no his easel in the middle of a stree. md
roughly sketchcd the blazing and tum5.ng
houses, till at last, his clothes catch.a. lrc,
he was obliged 10 retreat
Among the indefatigable artists who rove
the world IN search Of local color may De