File:Scribner's magazine (1887) (14595371268).jpg

Identifier: scribnersmagazin16newy (find matches)
Title: Scribner's magazine
Year: 1887 (1880s)
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Publisher: New York : C. Scribner's Sons
Contributing Library: Robarts - University of Toronto
Digitizing Sponsor: University of Toronto

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The Rider on the White Horse (1881) —in the possession of the artist.(Photographed by F. Holiyer.) Pall Mall Gazette Extra, No. 22, p. 13,will be found an interesting account ofhis way of painting portraits, given inhis own words. In the course of it heobserves : In my imaginative work I considermyself perfectly free as to detail so longas I do not violate any law; but not so,of course, in portrait-painting, when,while giving my mental faculties fullplay so as to seize my sitters intellect- ual characteristics, I observe equallythe physical minutioe. To assist myself,I converse with him, note his turn ofthought, his disposition, and I try tofind out, by inquiry or otherwise (if heis not a j^nblic man, or is otherwise un-known to me), his character and so forth;and having made myself master of thesedetails, I set myself to place them onthe canvas, and so reproduce not onlyhis face, but his character and nature. 711
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Statue of Hugh Lupus at Eaton Hall, the Duke of Westminsters Country Seat near Chester (Photographed by F.Hollyer) There can be little douht that this•was the way of some of the ofreatestportrait-painters of old — Titian, forexample, and Bellini, Lotto and Rem-brandt, Moroni and R:i2)hael—butnone the less has Watts made a newdeparture in modern art. The powerwhich was a natural <yiit trrew withexercise, and it has not decreased tothe present day. as his admirable por-trait of Walter Crane is alone sut!icientto testify. Physically the portrait isneither liatterin;Lj: nor the reverse, it is71J the very imaofe of the man, and the sin-cerity and energy of its character areequally tiiie to life A ereat advanceis to be noted between the Guizot of1848 and the Gladstone of I860, a por-trait wliicli I have elsewhere said is notonly a history but a projihecy. Sincethen his hand has grown freer while hisinsight has remained as keen, and thelevel he reached in such portraits asthose of J

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