Evening star., 1923-11-22
The North Window
BIZ LEILA MECHLIN


thoughts are introduced by para
graph In an article entitled "a Note
on English and American Art" by one
John Blomshield. presumably a Brit
isher, published in the November
number OF the Landmark. the Off
cial organ Of the English Speaking
Union, the purpose Of which Is to
bring about closer and more friendly
relations between the peopleJof Great
Britain and the citizens OF the Irn,ted
Statess The paragraph reads as fol-
lows: John Singer Sargent is another
cosmopolitan born OF American par
ents. Both England and America
claim him, but II this Is a debt Eng
land owes America she has au,uly
repaid 1t through Mr.. Charles Chap
lin-a greater artist in another field"
Note that Sargent Is referred TO with
out prefix. and that Charles Chan,in
has a 'Mr" before his name
But what strange comparison:
what an fll-assorted pair. Sargent.
the great portrait painter Of our time
whose works dare comparison with
the best that have been produced. and
whose fame will long live after we
are gone, who has, through his art.
added material beauty to the world.
Charles Chaplin, the buffoon. who has
aped the vulgar and made vulgarity
popular; an artist-yes, in his own
way. and inasmuch as he has
brought laughter into the world. de-
serving OF commendation: but GER
tainiy not greater artist, even in
his own chosen field.
II was not necessary for Mr.. Rloru-
shield TO have dragged in Charles
chaplin in order to prove that Amer.
ica owes a debt to England in tie
mater or art. American paintine
was founded on English tradition. John
Wallaston, one of the earliest paiut-
ers in America. was an Enclishman
VINO visited the colonies between 1854
and 1867. Smibert. who painted por-
traits in New England in the early
half of the eighteenth century. and
excellent portraits, too, was born in
Edinburgh in 1864 and brought 70
the new country when but a lad.
Robert Feke and Jonathan Blackburn.
the former born in 1905. and the lat
ter in 171o. IN New England. were
British subjects. Copley. West and
stuart. the greatest of the early
American portrait painters, were all
or British parentage, and the first
two never became citizens Of the
United States, living in London the
latter part of their lives.
In 1853 Benjamin West. Quaker
OF Philadelphia. then but twenty-five
years of age. settled in london and
established hinself as painter of
portraits and historical subjects All
know the story of how Hospitality
West was received: how the king be-
came his royal patron and made him
court rhetorical painter and how. on.
the death of Reynolds. in 1892, he
succeeded TO the presidency of the
Royal Academy. which position he
held, with the exception of a few
months. until 1915.
X ~
But all do not realize the influence
that this residence of West IL, london
had upon the development OF painting
in America To the young ambitious
painters~of the colonies and later of
the United States his door was always
open. Gilbert Stuart, Charles Wilson
PeaIe. John Trumbuli. Robert Fulton.
Malbone. Ailston. Morse, vanderlyn,
Rembrandt Peale, Charles King. Sam
uel Waldo and Thomas Sully all stud.
led with West and passed a number
OF years in London. The Peales re-
turned to paint in Philadelphia, NAL
bone and Allston went back TO South
Carolina: Waldo and Sully were in
New York: Trumbull and Stuart were
much in New England. as was also
Ralph Earle.
And those were the days. il will be
remembered. of the great school of
English portrait painting-the days
of Reynolds and Gainsborough and
Hoppner and Raeburn and their other
brilliant confreres.
Joseph Wright. who was taken to
London in 177l by his mother in order
that he might study art, became pu-
pill not only Of Benjamin West but
also of John Hoppner, who later mar
ried Wrights sister.
Later on, that is. in 1923. London
made welcome a huge backwoods-
Harding. who had learned to paint as
a trade. doing coaches aud signs,
travelling from place to place. He
had almost no schooling. but real
genius. and. what is more. great
store of common sense, He remained
for three years in London and profit
ed much by the association. One of
the best of his portraits is that Of
John Randolph of Roanoke. which is
here in the Corcoran Gallery of Art.
He was an able painter.
There is a story to the effect that
the great French painter, David.
asked Rembrandt Peale. to whom he
was sitting for his portrait. why the
best English painters were all Amer
ican. When Sargent and the late c.
G. Shannon were both painting in
London a while ago this same remark
might have been made with equal
reason. Alfred Noyes once said that
the greatest bond of union between
the English -spes king people was the
Bard of Avon. Certainly another close
bond is found in the field of portrait
painting.
In this connection. recalling the
early history of portrait painting in
this country, it is interesting to note
that. according to records, Gilbert
Stuart's success in London was evil
denced by the fact that in two years
the price of his portraits increased
from to 80 guineas, approximately SO
to s15e. They now bring many thou
sands; in fact. the purchase price OF MS
portrait of Washington. bought by the
late III. c. 'Frick. was $4,000.
S. F. B. Morse is said to have found
small demand for his paintings when
and went from city to city trying to
find patrons. at SIS head. He was