New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-01-11
TO PAINT A SOUL,
USE HUNK OF COLOR
Arts Newest DelirlumS,
Now on Show, Are Vivid
and Unrestrained.
POST IMPRESSIONIST
MUST WEAR HIS SOUP
.e Removes S;raitjacket from All
IDEAS. and PiniOns UnWary
Spirits to Canvas.

An exhibition Of post-impression'stic
paintings was opened yesterday in the
studio rooms way UP on the top floor
~ the Lincoln Square Theatre Buildins'
xs.h street and Broadway Many were
there. 80 pictures were sold.
Until yesterday it has never been widely
known Just how 20 become a painter OF
pictures. but if this is worried through
il will be positively simple to be even a
post-iuprossiouist And this is how:
You drape your hair over the edge OF
your collar. YOU look dreamy and melan-
choly. spill soup all over your vest, wear
flowing black silk tie. and then either
adopt Buddhism or Confucianism. You are
an embryo post impressionist Buy lot
OF paints. a dozen or so canvasses. two or
three drinks of absinthe and-there you
are,
All artists have models. However
post-impressionistic model is different
You dissect your model. not copy him.
First thing Of all. you forget him and
his shape you Just draw his soul, his
spirit. his character. In order 10 do those
little things YOU have 10 have quarts OF
paint-imperial yellow, brilliant carmine'
bright green. purple. achre. carnatlon' PINK
and others that so to make the rainbow
wonderful In detail: First of all, YOU
become impressionistic. You have sud
den attack of temperament 20 into the
streets. catch a study bring him IN.
In the studio are soft-eyed young women
with careless hair. and long haired and
sad-eyed young men. Sometimes the
study is allowed TO keep his clothes
on. and sometimes he is denied that con-
sideration. Nothing matters when you
are artistic. you know.
When YOU draw a man YOU paint
cluster Of muscles. top it with head.
and finish il all with two feet. If its
woman. you take your little brush in
hand. wave your arms wildly in the air
few times-just so as they get the right
idea-and then paint angles. curves ana
circles on your helpless canvas. Then you
put q wad Of wavy hair on top, couple
Of more or less shapely feet at the bot
tom. and-vou've completed two postum
pressiOnistic paintings.
There was portrait Of Douglas Dixon,
poet. writer and gentleman. His face
was smeared with the brightest Of green
paint: some of it Ghe face was red, some
OF it yellow, some of it purple. But it
was quite a bit OF work at that. Homer
Boss. the boss of the school. was asked
concerning the portrait. He said:
'1'u explain it quite simply. The green
i'm its sensation is cool and rather pessi-
mistic 1t dominates and is not especially
suggestive Of optimism. In fact, it is
more or less suggestive of pessimism.
You don't reproduce the form of nature,
but use such parts and feelings of that
form as is necessary to produce the char
acter and psychology and temperament
and mentality of that being"
There was another painting on canvas.
All ten going together were yellow. green,
purple. orange. red. pink, brown, blue.
indigo and violet It had no shape but
somewhat resembled a morning screen.
THAT. sir" said Mr.. Boss. does not
{. really convey very much to my mind. 1t
has sensation. Whether that sensation is
. Of life. of eXhiaration, of intensity. Of
: jubilancy, or something like that, l have
: not decided. Isn't it wonderful 1t was.