Evening star., 1915-03-21

~HE exhibition of portraits by men,
bers of the National Association
! q of Portrait Painters which is now
| on view in the National Museum is as
| interesting and notable 4 display as
! one will often see. Not only does 1t
comprise paintings technically well
rendered. but portraits admirably full
filling their function as true and con-
vincing interpretations of personality.
In the present day good portraits are
rare. Indeed. in the records of cotem-
porary art portrait painting cannot be
given very large place, although
some notable portraits have been paint
ed within the past decade by few dis
tinguished artists. Possibly the appar-
ent decline in portrait painting has
been due to a lack of prevalent interest
and demand. the photographer satisfy
ing the appeal of both sentiment and
vanity.
When the greatest portrait painters
lived there was no other means than
that their art afforded to register like
ness Furthermore, much greater en-
phasis was placed in that day than in
this upon historical record: hence many
portraits were painted to be handed
down through subsequent generations
present and neither build nor plan for
those who are to follow after us. How
different, therefore. must have been
the mental attitude of both painter and
sitter one. two or three centuries ago.
But the art itself has not changed
nor the standards by which 1t is judg-
ed good portrait now, as in the days
of Rembrandt, must be something more
than a mechanical likeness. The cam
era registers, often with great accu-
sSin
successful painted portrait shows IN
Vulnerable expressions. and thus inter-
prets both personality and character.
In other words, a portrait which is IN
a living, image, vital and in measure
many-sided.
Il is such portraits as this that may
now be found in the large hall at the Ma
tional Museum set aside FOR the Nae
tional Gallery. There are TWENTY-FIVE
canvases in all and each sets fortn
real person. Considered all In all:
these personalities are as varied ana
unlike as possible, yet each has It's own
alluring interest and all share that at
tractiveness which is ever found In
frank. simple interpretations.
There is. furthermore, dual intere!t
in such paintings as these-prlmarl!y
that of personality-the sitter VINO IS
atty of the painter and the quality OF
his or her art Manner in painting is as
varied and pronounced as in speaking,
and style in rendering is found as char
acteristic as handwriting. There could
scarcely be more diverse methods of
handling pigment than those employed
in this exhibition by Mr.. Crawford and
Mr. Bellows. and yet each attains
thereby a very satisfactory result
and after all 1t is result, not method.
with which the general public has to
deal.
To those who are especially interested
in the newer phases of stmplified art,
Mr. Bellows portrait of William
Straight, esq. will be particularly at
tractive It is amazingly clever.
Whether one likes it or not is diff
ferent matter. Even today the violent
blue used as background is a bit
shocking, but the force of character
portrayed dominates in the conflict.
Much less subtle but equally mod
ernistic is the full-length portrait of
a lady in a blue spangled gown by
Howard Gardner Cushing. 1t is the
background again that is found start
ling-a violent and pronounced design
in black against very light bum or
gray-a design which dominates every
thing and relegates the lady to almost
insignificance
Cecilia Beauxs portrait Of MIR. Andrew
is broadly painted. but reserved and to
degree conservative. Here is the art
which conceals art-ones attention is not
cleverness of the painter which cries out
for notice, but the definite personality of
the man portrayed. While extremely sim