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"THE ART AMATEUR" HANDBOOKS 
 Edited by MONTAGUE MARKS 
 
 Portrait and Figure Painting 
 
 BY" 
 
 FRANK FOWLER 
 
 AUTHOR OF "DRAWING IN CHARCOAL AND CRAYON,' 
 " OIL PAINTING," ETC., ETC. 
 
 WITH THREE COLORED PLATES SHOWING PROGRESSIVE 
 STAGES IN OIL PAINTING 
 
 NEW YORK 
 
 THE CASSELL PUBLISHING CO. 
 
 31 East 17TH St. (Union Square) 
 
 \ 
 
1^-. 
 
 
 ^ 
 
 /\c 
 
 _oOO^ ^ ,'■ y 
 Copyright,. 1894, 
 
 THE CASSELL PUBLISHING CO. 
 
 All rights reserved. 
 
 THE MERSHON COMPANY PRESS, 
 RAHWAV, N. J. 
 
CONTENTS. 
 
 PART I. 
 
 CHAPTER PAGE 
 
 I. Introductory — A Simplk Head, i 
 
 II. How TO Paint a Head, 6 
 
 III. Portrait Painting, lo 
 
 IV. Modeling, i8 
 
 V. Color, . 24 
 
 VI. Accessories, 34 
 
 VII. Expression, 37 
 
 VIII. Composition, 42 
 
 PART II. 
 
 I. Figure Painting, 45 
 
 II. The Planes, S^ 
 
 III. Modeling and Construction, 57 
 
 IV. Color, 60 
 
 V. Composition, 64 
 
 111 
 
PORTRAIT AND FIGURE PAINTING. 
 
 PART I. 
 
 CHAPTER I. 
 
 INTRODUCTORY A SIMPLE HEAD. 
 
 THE fact that the representation of the human figure is generally 
 regarded as the most advanced step in the painter's art seems 
 to invest it with unusual fascination for the beginner. Cer- 
 tainly the number of persons who deliberately choose a course of train- 
 ing that prepares them for painting from life is constantly increasing. 
 These may not all succeed as figure painters, but the advantage of 
 having worked from life will be felt in whatever direction their taste 
 may eventually lead them ; so that not only those who contemplate 
 devoting their energies to this particular branch, but anyone who in- 
 tends to take it up professionally, will do well to begin by entering on 
 the course of study which, while absolutely necessary for portrait and 
 figure painting, will also be found most advantageous in other branches 
 of art. This system is indeed recommended at the best schools 
 abroad, whether the ultimate object be landscape or figure work. 
 
 The reason is obvious. The French school — whose influence pre- 
 dominates strongly in America — regards both drawing and construc- 
 tion as essentials to the study of all the graphic arts ; and these are 
 perhaps more readily acquired through regular academic training, in 
 the case of the landscape painter, than by confining his practice 
 entirely to outdoor work. From this standpoint, then, these chapters 
 on portrait and figure painting should be of value to all students ; and 
 it will be the aim of the writer to make them so. Further, it will be 
 well to insist on the value of this kind of preparation for all who desire 
 to become painters. 
 
 The human face presents an area for the study of form and color 
 in the most condensed and most varied combination. The student has 
 
2 PORTRAIT AND FIGURE PAINTING. 
 
 here before him tones of elusive subtlety, as well as those of utmost 
 vigor ; forms of exquisite outline, and others of rugged strength. The 
 knowledge acquired by a close study of these various qualities, the 
 possibility of becoming acquainted with the resources of the palette 
 under the quiet conditions that indoor work affords, and the attention 
 to outline and modeling which the deliberation of the studio encour- 
 ages, tend to give one a control of his materials which the distractions 
 of study out of doors will not at first permit. 
 
 A glow as subtle as the sky at dawn mantles the young girl's cheek, 
 while for energy of coloring no autumnal tint possesses more vigor 
 than the ruddy flush of health in youth or the bronzed countenance of 
 the traveler in many lands. Catch them on your brush, you who 
 would paint landscape ! The portrait painter, pure and simple, has no 
 more need of them than you have yourself. For these, and other 
 reasons which might be given, it is desirable that the student should 
 begin with the study of the head and figure. 
 
 It is the intention in this book to be practical, to speak as simply 
 as possible of the technical side of painting ; for it is assumed that the 
 reader has already some knowledge of drawing. 
 
 The list of colors given below will be found useful in portrait work 
 and will furnish a rich and varied palette : 
 
 Silver White. 
 ^ Yellow Ochre, 
 Yellows \ Light Cadmium, 
 ( Deep Cadmium, 
 \ Cobalt, 
 Blues I Permanent Blue, 
 ( Antwerp Blue, 
 f Light Red, 
 I Vermilion, 
 Reds •; Rose Madder, 
 Madder Lake, 
 Burnt Sienna. 
 Greens ^erre Verte, 
 
 I Zinober Green. 
 Raw Umber, Bone Brown, Ivory Black. 
 
 Some portrait painters are constantly making studies of heads in 
 color merely for the facility they thus acquire in overcoming technical 
 difficulties when painting a portrait. Before starting on the actual 
 work of portraiture, therefore, the following suggestions are made for 
 the painting of a simple head : 
 
INTRODUCTORY— A SIMPLE HEAD. 3 
 
 Place the subject in an effective position for light and shade, and 
 begin by drawing it in with charcoal. Look first for the character of 
 the mass. Observe if it be oblong or square, round or oval. This 
 should be the first fact to strike you in regard to its drawing ; for at 
 present you have nothing to do with features or character — only with 
 bulk. When this is determined the features come next in importance. 
 Do they fill the mass of the face, or are they contracted, placed near 
 together, leaving considerable area of cheek, forehead, and chin ? Fix 
 this impression well before attempting to define the forms of these 
 features. This already will stamp the head with a certain personal 
 character, that the definition of each feature, as you proceed, will only 
 emphasize more strongly. 
 
 After drawing with care the eyes, nose, and mouth, in their respec- 
 tive spaces, already indicated, you are ready to begin to paint. 
 
 The successful accomplishment of the above is by no means 
 as short and easy a work as would appear from the rapid sugges- 
 tions given. To get a head in good drawing — that is, all its com- 
 ponent parts in the right place — requires much concentration and close 
 observation ; when, however, this is done the worker is about ready 
 to lay it in. 
 
 In order to retain your drawing, and also to familiarize yourself 
 with the forms of the shadows which you have blocked out in charcoal, 
 go over these with a thin tone of burnt sienna and black diluted with 
 turpentine. As this dries readily, the drawing is secured and ready to 
 receive the color. 
 
 Place now, if you have not already done so, some drapery or some 
 tone behind — it may only be the dark corner of the room against which 
 you wish the head to be relieved ; but all through your work retain the 
 same effect, and study this object, under all circumstances, in its rela- 
 tion to this background. 
 
 Observe now the most obvious effect of color presented by your 
 subject in contrast to the tone that relieves it. State at first the fact 
 of its being fair or dark, ruddy or pale. This is the first impression 
 you will be likely to receive from it, and it is well to proceed with 
 logical sequence. The result will be more potent, more telling — in 
 fact, truer — than it would be if you allowed yourself at the beginning 
 of your work to be attracted by charm of feature or expression. Con- 
 struct the frame of the building well, and then the ornaments will be 
 
4 PORTRAIT AND FIGURE PAINTING. 
 
 an added grace ; begin with ornaments and the edifice will be likely 
 to fall. After this first scrutiny, establishing- the fact in your mind 
 of the general color aspect of the head against its background, you 
 are ready to paint. We now proceed to actual work. 
 
 In the first painting turpentine should be used as a medium, for it 
 leaves the pigment good in texture and dull of surface — an excellent 
 condition for receiving the second and ultimate paintings, when oil is 
 employed. 
 
 Commence by rubbing in the background in its proper value and 
 color. This done, the head may be attacked with a full brush, and with 
 as close a reproduction of the effect it presents to your vision, both in 
 general light and shade, as you are capable of making it. Do not look 
 at first for the highest lights nor for the deepest darks. Half close the 
 eyes, and endeavor to resolve this object to the simplest and most 
 direct impression. Mark the tone of the hair in relation to the face 
 and to the tone behind it. Everything should be reduced to the fact 
 of a background with an object, a spot, of a certain form and color, in 
 front of it. The contour and proportions will announce that it is a 
 head ; the subsequent paintings and the definition of the features will 
 tell that it is an individual. 
 
 To tell this is now your business ; and the shape of the forehead, 
 the form of the eyes, the line of the nose, and character of the mouth 
 — each studied with care — will help to make the head a likeness, a 
 personality. 
 
 But much besides the mere drawing of individual features contrib- 
 utes to this. The interior modeling, the high lights, half tones, and 
 emphatic darks, the arch of the brow, the energetic or calm lines 
 about the nose and mouth, the squareness or curve of the chin, are all 
 elements in the interpretation of the likeness which must not escape 
 the student. The color of the eyes, irrespective of the pupil, may be 
 now indicated ; also the depth of color in the mouth, which varies 
 much with age or physical condition ; do not suggest it any stronger 
 in color than it appears under the conditions of the light in which the 
 model is placed. In all that you do try to prove, by the result, that 
 you have referred constantly to nature for the effects recorded. This, 
 more than anything else, will be noted to your credit when you come 
 to submit your work to the criticism of the expert, the painter whose 
 own portrait work has gained him reputation for truth. 
 
INTRODUCTORY— A SIMPLE HEAD. 5 
 
 In finishing, look for those details which enhance the resemblance 
 and add to the expression. The pupils of the eyes should be touched 
 in with proper emphasis, neither too dark nor too lig^ht. Note where 
 the eyelashes cast a shadow, above or at the corner of the eye, and 
 remark that they do not surround the lids with equal force, but are 
 dark only at certain parts, depending on the direction from which 
 the light strikes the head. This is of importance, and the right 
 position of these accents will contribute much to the expression and 
 resemblance. 
 
 .The character of the nostril is not to be neglected in a portrait any 
 more than are the lines about the mouth ; for, as much as the curve of 
 the lips themselves, it demands a faithful reproduction. 
 
 The treatment of these finishing touches, as it were, of a face, 
 comes under the head of interior modeling ; for the contour may be 
 faultless while the expression, nevertheless, may be unnatural and with- 
 out character. 
 
 Having now some suggestions regarding the method of painting a 
 head, it is time for us to consider that more mature phase of life study, 
 the painting of a portrait. 
 
CHAPTER II. 
 
 HOW TO PAINT A HEAD. 
 
 THE head which is represented by the three colored plates given 
 in this book was done directly from life. In copying it the 
 method employed in its painting may be strictly followed. The 
 study, as will be seen, is given in different stages, which may be called, 
 for convenience, the second, third, and final paintings. 
 
 The first stage is not reproduced here. It is achieved by mak- 
 ing a careful drawing in charcoal, blocking in the form of the shadows, 
 being sure that the features are correctly placed and firmly defined. 
 As this first state is that in which corrections are most easily made, the 
 drawing-in of the head should be done with much deliberation. The 
 student almost invariably finds that in his haste to go on to the attrac- 
 tions of color he has hurried his preliminary drawing ; or at least has 
 begun to paint before the head is in its proper proportions or before 
 the features are in their true position. He finds, perhaps, that one eye 
 is higher than the other in its relation to the line of the nose and 
 mouth, or that the mass of the head is too broad for its length or too 
 long for its width. These are discouraging defects to discover when 
 the whole is laid in with color; but they may be readily corrected 
 while it is still in charcoal. 
 
 The head once well drawn, it may be "fixed" by spraying it with 
 " fixative " in the same way as charcoal and crayon drawings are 
 treated. This prepares it for the second stage, as shown in Fig. i on 
 the color plate, and such a condition of the work is very essential to its 
 successful termination. It impresses the forms a second time upon the 
 pupil's memory, giving also an agreeable warm undertone to subsequent 
 painting. It consists of a simple flat "wash" of burnt sienna and 
 black, mixed to a certain fluid state by the use of turpentine. In 
 doing this be very particular to preserve strictly the shadow forms as 
 indicated already in charcoal ; do not take liberties with them, or else 
 each successive painting will be likely to be still farther removed from 
 the original statement of light and shade ; and so new difficulties 
 
 6 
 
HOW TO PAINT A HEAD. 7 
 
 will be encountered, and demand reconsideration at a more embar- 
 rassing point. 
 
 Draw the forms of the features very definitely at this time, so as to 
 be thoroughly impressed with their characteristics ; for in the third 
 stage, when color is first employed, the finesse of these forms is 
 likely to be temporarily obliterated by the movement of the brush, and 
 the preoccupation of the painter to secure breadth of light and shade. 
 I do not insist, in this first laying in of color, that the pupil be over- 
 careful to retain the detail of form in each particular feature after hav- 
 ing twice drawn them with attention. It is very essential to mark 
 their position — that is, the space they occupy in the mass of the face ; 
 but the vital impression of an object receiving planes of light and 
 shade is in danger of being sacrificed if these incidental spots, eyes, 
 nose, and mouth, are elaborated at this period of the work. 
 
 Use plenty of color, and begin working, from Fig. 2 of the plate, 
 by putting in the background. This will provide at once something 
 against which to relieve the head, and it will help you to determine the 
 force of the light and shade on the face in relation to the tone behind. 
 If you were painting the head from life I should advise the same 
 method of procedure — namely, the placing of a particular tone and 
 color as a background, and then painting the head in its relation to it. 
 After painting the background proceed next to lay in the hat and 
 dress in their broad masses of light and shade and color, omitting 
 unnecessary detail until later. Now take up the head, and after 
 observing its effect, as a spot of light against the color which relieves 
 it, put in this light and shade with a brush well filled with pigment, 
 always giving strict attention to the forms of the shadow. 
 
 Paint the light and shaded masses as closely as possible the actual 
 color they appear to you ; for some of your painting, even in this stage 
 of the work, is likely to be final, if the color is laid on heavily enough. 
 
 In your haste to get an effect do not be tempted to paint too thinly. 
 The attempt to secure a certain effect with thin color conduces to 
 timidity in execution, and is a poor preparation for succeeding paint- 
 ings. Be sure in this first painting to use only turpentine as a 
 medium ; it dries rapidly, and makes an excellent ground for the sub- 
 sequent employment of oil. At this point in the work we only seek 
 the direct impression of the head in its exterior form and color. The 
 eyes are only indicated in their general effect of color — gray in this 
 
8 PORTRAIT AND FIGURE PAINTING. 
 
 case — with, as yet, no glint of light in their iris nor intensified dark of 
 pupils. That comes later, and you can readily see that these progress- 
 ive stages and the simple statement, gained by painting only the most 
 obvious effect produced upon the vision by this human face, result in 
 preparing the portrait for any degree of completion, without loss of 
 vividness or any danger of diminishing the reality of the impression. 
 
 We may now consider the third figure of the plate. This is the 
 final result of several later paintings, in which only oil has been 
 employed as a medium. The touches that complete the reality of 
 portraiture are now given ; hints that emphasize the likeness should 
 now be looked for and made use of, lurking notes of expression 
 detected and brought out ; everything, in fact, that contributes to the 
 personal character of the head should receive the closest scrutiny and 
 be touched in with judgment. Reflected lights, varieties of values, the 
 just proportions of light and shade, the salient notes of color, can be 
 added in this final stage of the work, with little fear of detracting from 
 the truth of the impression ; on the contrary, if placed with discrimina- 
 tion these will only enforce the life-likeness of your work. 
 
 The same care that insured truth of effect in treating the head 
 . should be exercised when painting the dress and hat. The dominant 
 light and dark and all intermediate values must be observed in their 
 relation to the head and to the background. Look with the same con- 
 cern given to the shadow forms of the hat, for those cast by it upon the 
 head ; and note also the relation of the black to the brown of the hair. 
 Put in the dark at the top of the hat, which is not indicated in Plate II., 
 being unessential to that stage of the work. Go on to the dress, finish- 
 ing in the same way, touching in indications of fold, and giving a sense 
 of modeling by the variety and truthfulness of the lights and darks. 
 Put in the light on the shoulder, which now detaches it from the back- 
 ground, a note it was not imperative to observe before. 
 
 Whatever valuable fact reveals itself upon further scrutiny must be 
 made use of in heightening the impression ; as, for instance, the high 
 light on the forehead, the touches of light that model the fullness 
 above the eyebrows, the light on the bridge and at the tip of the nose, 
 the touches of light at the corners of the mouth, the accent of dark on 
 the cheek bone and on the chin, as well as a careful study of the half 
 tint which models the jaw and detaches it from the throat — all these 
 are necessary. Look also for the play of light on the hair, the variety 
 
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IfOiV TO PAINT A HEAD. 9 
 
 of color that it presents, some notes being brown and others of a 
 grayish or bluish cast. Above all do not neglect the reflected light on 
 the shadowed side of the forehead, for this has much to do with the 
 just construction of the head. 
 
 These facts truthfully presented, the head will live in its own atmos- 
 phere and possess a vitality that will be sure to impress. This is the 
 mere business of painting, pure and simple, and it is the first business 
 of the pupil to learn to portray — to give the sense of form and projec- 
 tion to a given object in its true color. First learn this, and the 
 initial step in the production of a work of art will have been taken. If 
 the sentiment of art is in the individual he is then equipped to express 
 it ; for he has found his vocabulary, and can talk. 
 
 In closing I would recommend those who copy this head in no case 
 to make it smaller than as given here ; on the contrary, if the student 
 feels capable of enlarging it proportionately, the practice will be a good 
 one, and the exercise of covering a larger surface with the brush, sus- 
 taining the modeling throughout, will help him in painting from life. 
 
CHAPTER III. 
 
 PORTRAIT PAINTING. 
 
 THE fact that some of the noblest and most highly esteemed 
 examples that survive to us of the best days of painting are 
 those of portraiture is sufficient demonstration of the dignity of 
 the art itself. To produce a portrait is to do much more than make a 
 mere study of a head. Qualities of composition, balance of light and 
 shade, appropriate accessories, and many other elements of a pictorial 
 and aesthetic nature combine to give dignity to the canvas and mark it 
 as a work of art. 
 
 Having now the list of colors and directions regarding the con- 
 struction and general method of painting a head, let the worker turn 
 his attention to the making of a portrait. It is not now a study merely 
 for the artist's practice that is to be considered, but a person to be 
 painted, whose characteristics are to be interpreted, whose tempera- 
 ment is to be defined. The painter must bring no dormant attribute 
 to light that may diminish the habitual and familiar aspect of the man. 
 This requires mind as well as vision, and it is just here that the por- 
 trait painter becomes an artist. He does more than paint — he creates ; 
 and to accomplish this successfully requires a penetration deeper than 
 that demanded to present the mere visual impression of the subject. 
 There is much, however, that will aid the painter in producing a work 
 of art in portraiture ; and it is to give suggestions to those who wish 
 to fit themselves for the business of portrait painting that the instruc- 
 tions contained in the following pages are written. 
 
 THE LIGHT, 
 
 This is of prime importance. The usual and safest way of lighting 
 a sitter will be by a high side light ; not too high, however, for it is the 
 accustomed, and familiar, that should control a work of portraiture. A 
 light too strong or from an unusual angle, coming from above, for 
 instance, makes two dark caverns of the eye, forms and throws heavy 
 shadows under nose, mouth, and chin. Much of course depends on the 
 
PORTRAIT PAINTING. Ii 
 
 character of the subject in regard to the preponderance of shadow or 
 fullness of light that shall be chosen to reveal him. But if the sitter 
 be a woman, fair, delicate, and blond of aspect, choose rather 
 such a disposition of light as shall make the whole head luminous. 
 Avoid in this case any emphasis of shadow more than sufficient 
 to give a proper relief to the forms of the features. Very little 
 shadow will do this, although the difficulties of the painting are 
 somewhat increased. 
 
 In the case of a man whose head suggests sinuosities and interest- 
 ing modeling, choose such an effect of light as will develop this variety 
 of surface without too violent emphasis, guarding always against such 
 an arrangement as will be likely to be foreign to his general aspect. 
 Artists are sometimes so carried away by the aesthetic possibilities of 
 their subject that they forget their business of portraiture, and produce 
 a picture — it may be a picture of much interest, but still an utter fail- 
 ure when regarded as a likeness. 
 
 This is a mistake in more ways than one. Nor do not let the 
 worker delude himself that he has done something better than a por- 
 trait. To use the means at hand to develop graphically the personality 
 of the sitter is to succeed far beyond the using that same subject as so 
 much graphic material, and with little or no intellectual purpose. Do 
 not, then, be beguiled or lured to failure by the magic of light and 
 shade. Be their master, but let them not master you. The stronger 
 you become in portraiture the more docile and willing you will find 
 these servants. Light and Shade. They will do your bidding, hide 
 blemishes and reveal charms in the sitter. There are painters whose 
 knowledge of the potency of light is so complete and the results 
 of their management of it so satisfactory that they are sometimes 
 reproached as being flatterers, when this agreeable result is largely due 
 to the perfect method of lighting the subject. Do not place the sitter 
 in too strong an effect of shadow — an error often committed by the 
 beginner. Do not, either, divide the face into two equal or nearly 
 equal masses of light and dark. Let the larger area be light. 
 
 Study to secure vigor where vigor is demanded, but do not, fearing 
 to be weak in effect, disdain to give delicacy and charm when these are 
 required. Proper lighting will do much to bring out these qualities, 
 and the painter is surrounded with hints that should suggest to him 
 the possibilities of light. 
 
12 PORTRAIT AND FIGURE PAINTING. 
 
 THE BACKGROUND. 
 
 After ascertaining the various resources of your studio in regard 
 to lighting the sitter, you may add to the interest of the effect by 
 artificially darkening corners of the room against which you wish the 
 figure relieved. This mode is preferable in many cases to that of 
 employing dark drapery as a background ; and for this reason : no 
 matter how dark this material may be — black even — there will be an 
 indication of surface light, which will determine its distance from the 
 object in front. While this is sometimes desirable, when depicting 
 certain characteristic interiors, there are times when the vagueness of 
 atmospheric space gives more pictorial value to the particular subject 
 to be treated. The type of the sitter should largely influence the 
 selection of background. To paint a young girl seated in a heavy 
 high-backed upholstered armchair, the substantial ease of which is 
 significant of comfort to old age, would be an absurdity ; and to repre- 
 sent an old gentlemen whose countenance betokens hard contact with 
 the world with a dainty background suggestive of my lady's boudoir 
 would also be a breach of taste. 
 
 T\i^ fitting, always th& fitting, is to be studied and presented. 
 
 In former days, much more frequently than now, it was customary 
 to associate the person painted with his particular occupations or 
 functions by suggesting hints of them in the background. My own 
 good grandmother was handed down to her posterity with cap-strings 
 fluttering in the same breeze that made the schooners scud on the 
 waters of Tappan Zee, which was seen directly over her shoulder ; 
 the inevitable red velvet curtain, drawn slightly to one side, disclosed 
 this somewhat stormy aspect of nature, out of compliment to the fact 
 that the subject of the portrait was born on the banks of the Hudson. 
 
 So in the case of bank presidents, capitalists, men of large enter- 
 prises of whatever kind, the fashion was to use the background as a 
 field for a complimentary allusion, as it were, to the particular prowess 
 of the individual in front. One can recall portraits of hatless gentlemen 
 of eminent respectability, depicted as complacently turning their backs 
 on an outdoor panoramic view of what might be the whole watershed 
 of the Mississippi, with perhaps the Rocky Mountains crowning all, 
 simply because the subject had been a promoter or vice-president of 
 some trans-continental, or less important, railroad. 
 
PORTRAIT PAINTING. 13 
 
 Pictures of naval officers are in mind where the placid and familiar 
 expression of countenance is in strange contrast to the sea fight hotly 
 waging an eighth of a mile in the distance, behind their backs — the 
 delicate offering of some painter who misapprehended the value and 
 function of a background. It would seem almost needless to say that 
 this is bad art, and that it is to be avoided. 
 
 In no instance have the examples quoted shown any coherence 
 between the background and the fact in front — namely, that of an 
 individual portrayed with a view to perpetuating a characteristic like- 
 ness under conditions of a normal and natural repose. They are there- 
 fore just so far weakened as works of art ; hence, no matter how great 
 their technical excellence, they are unacceptable, inasmuch as they fall 
 short of that important element of taste without which no work can be 
 entirely successful. 
 
 In making these objections to backgrounds of this class the writer 
 would not be misunderstood. The examples mentioned were those 
 where the effects could not be satisfactorily painted with reference to 
 nature ; consequently a weak pictorial suggestion was given, and no 
 logic observed in the relation of the figure to the background. While 
 taste forbids this, it does not preclude all indication of a man's occupa- 
 tions or habitual surroundings. On the contrary, when such may be 
 introduced harmoniously in the color scheme, when they tend to empha- 
 size the normal aspect of the man, and are so readily accessible as to be 
 studied in conjunction with the sitter, and directly from nature, they 
 become valuable and legitimate resources, of which it is well to make use. 
 
 A geographer with globe or map behind him, a scholar relieved by 
 a corner of his library, a chemist against his retorts, furnish possible 
 and acceptable hints for backgrounds. Still these are only likely to be 
 desirable if the work is intended for some official or professional place. 
 If the portrait is done for the unique purpose of preserving a likeness, 
 the less ornamentations in its arrangement the better. So this question 
 of background will be likely to reduce itself to that of the most fitting. 
 That which will best relieve the head, play most effectively into the 
 contour and add interest to the form, should be selected. Then the 
 matter of color must be considered. When a definite tint is needed to 
 give color contrast, it will be necessary to place the particular hue 
 behind the sitter. Certain complexions demand this, are improved 
 by it, and the portrait gains charm. 
 
1 4 PORTRAIT AND FIGURE PAINTING. 
 
 Many French painters regard this color scheme as an important 
 factor in portraiture ; they make use of a great variety of stuffs of 
 different tints and textures, employing them with actual boldness at 
 times. When some dominant note in the complexion must be modified 
 or enhanced by the background they show great judgment. 
 
 The writer remembers a profile portrait of a lady by a famous 
 French painter which was posed against a bright yellow curtain. The 
 complexion was that of high health, a sort of bounding vitality which 
 seemed to pulsate in the cheek, so that under ordinary conditions or 
 surroundings the too florid flesh would perhaps lack refinement. The 
 painter, in daring to relieve it by so strong a yellow, tempered the 
 too vivid coloring to a pearly rose tint which was full of distinction. 
 
 It is well to add that such a tour de force is only safe in the hands 
 of a master. It will serve, however, to illustrate the considerable part 
 played by the background in the portrayal of the human face, and how 
 judgment and thought, and genius even, marks the selection of an 
 element in portraiture which by some students may be regarded as of 
 little importance. 
 
 Another distinguished painter in France makes his backgrounds of 
 an almost unvarying brown tone, laid on with a certain looseness of 
 touch that hints at atmosphere and remoteness behind. He does this 
 with much skill, introducing touches warmer or cooler, as the case may 
 demand, so successfully that this apparently uniform background is 
 never in discord with the color it relieves. 
 
 There are, however, objections to its monotony at times ; for when 
 some fair girl is to be represented, the severity of the surrounding 
 gloom does not seem in consonance with the subject. Another 
 Frenchman, who was remarkable for the charm of refinement and air 
 of distinction he gave to portraits of women, almost habitually employed 
 a light background of a pearly gray, which might have been a conven- 
 tional sky in general tone. Into this he touched a variety of lilac, soft 
 brown, and delicate pink notes, so that it harmonized delightfully with 
 the particular coloring of the person painted, adding an atmosphere of 
 softness and femininity to the canvas that was in every way admirable. 
 
 A realistic open-air effect employed as a background, unless the 
 sitter be actually posed out of doors, is more than likely to be a fail- 
 ure. And yet there exist portraits where this is apparently attempted, 
 although of course with totally false effect ; for a head under those 
 
PORTRAIT PAINTING. 1 5 
 
 conditions, if truly painted in relation to such a background, could not 
 receive sufficient illumination to define with any exactness the char- 
 acter of the features. Even if a cross light is used the result is 
 unsatisfactory. 
 
 An actual outdoor portrait is feasible, but in this light the relation 
 of the flesh to the background is so very subtle that the difficulties of 
 truthful representation are greatly increased. The light being so dif- 
 fused, the whole visage is illumined with almost equal force ; the 
 modeling becomes faint, and it demands the closest scrutiny to develop 
 the various surfaces that give projection and form to the head. 
 Achieving this even, the result as portrayed is likely to be less strik- 
 ing and direct than a likeness painted with indoor effect. From this 
 it will be seen that the safest and most satisfactory conditions for secur- 
 ing backgrounds of permanent and lasting value or interest are to study 
 those representing objects or stuffs receiving the same indoor light as 
 that thrown upon the head and figure of the subject itself. There is 
 another method of managing a background, which was employed 
 in the past more frequently than at present, but which is still made use 
 of with good effect. This is the practice of relieving the dark side of 
 the head by a light tone, and the light side by a dark one. The studio 
 light can be arranged to produce this, so that the tones may be studied 
 actually from nature. When this is done the result is not displeas- 
 ing, the great danger being that of painting an effect that may appear 
 too obviously prearranged. This need not be so, however, if the bal- 
 ance of light and shade is well considered, and the chiaroscuro made 
 to play its proper part as one element of composition. The light on 
 head and background may be managed in such a way that the sense 
 of relief and projection will be perfectly given, and the head will appear 
 to exist as a living object surrounded by air. 
 
 Portraits are sometimes painted where a remote corner of a room, 
 including the perspective of the floor, and some article of furniture, 
 serves as a relief against which the figure is posed. This, too, gives a 
 touch of actuality to the figure or head that is most effective ; but it 
 is only valuable as a background when studied in truthful relation to 
 the subject ; indeed, every part of a portrait should be so studied. 
 
 Plush curtains or damask tapestries, anything almost that goes to 
 make up interior luxury in house furnishing, may be used advanta- 
 geously for this purpose of setting forth the head and figure of a por- 
 
1 6 PORTRAIT AND FIGURE PAINTING. 
 
 trait with added realism or appropriate relief. There is so much tc 
 choose from, the selection of which greatly reflects the taste of the 
 artist, that this question of background, it will readily be seen, is no 
 unimportant factor in the production of a portrait. 
 
 The quality of tone and color so affects the flesh of the sitter that 
 \as will be seen from the above remarks on the methods of some 
 French painters) the greatest care must be observed in making the 
 tone behind the head thoroughly harmonious with the flesh of the 
 portrait. The whole must be in unity, or otherwise there will be a 
 head painted for itself, and a background painted for itself, making 
 two dissonant facts that will forever clash. Great use can be made of 
 the various hints of color to be found in whatever may be fixed upon 
 as the proper tone to relieve some particular head. If the subject 
 should have black hair, the choice of tone for background with which- 
 the purplish blue lights of glossy black hair will harmonize well will 
 influence the eye of the artist as well as the tint of the flesh to be re- 
 lieved. And in the same way the hair, being so important an element 
 in the general color mass of the head, will largely aff^ect the painter in 
 his choice of color for the background. The fitting s\vov\di. always 
 be chosen. Do not paint the rosy charm of infancy with a somber 
 background appropriate to age. Let there be this sense of propriety 
 always between the subject painted and the tone chosen to relieve it. 
 The writer remembers a portrait of a celebrated journalist in Paris,, 
 famous also as a duelist, who, although gray with age, was no less 
 feared. The artist in painting this redoubtable writer and fighter did 
 not hesitate to relieve his silvery hair and determined countenance by 
 a background perfectly black. The arrangement was in harmony with 
 the subject ; but one would not care to see a dear old lady so severely 
 relieved, when some other and more genial choice would heighten 
 the impression of gentleness in the sitter. Enough has perhaps been 
 said concerning the importance of this part of a portrait to prevent 
 the student from slighting or attempting to paint the background 
 without due consideration. 
 
 Do not think as lightly of it as those do who imagine that if they 
 paint the head from life the background will take care of itself. 
 Nothing in painting will take care of itself. Intelligence and will must 
 direct everything. There are numberless visual truths of light, shade, 
 and color that play about the contour of a head and figure, which must 
 
PORTRAIT PAINTING. 1/ 
 
 be observed and painted with a fidelity that can only be secured by 
 study of the actual facts before you. This cannot be done by putting- 
 in some imaginary background after the head is finished, and without 
 reference to the contour, to say nothing of its effect on the general 
 tone of the head itself. 
 
 Cultivate, then, the habit of observing your subjects in relation 
 to whatever may happen to be behind them. In this way not only 
 truths may be learned, but an original setting to some face be sug- 
 gested — invaluable in portraiture ; for a portrait should not only be a 
 likeness, but a picture. Each canvas of a portrait painter should attest 
 the aesthetic sense of the artist who produced it. Hints that emphasize 
 the type of the sitter may be introduced in the background, or objects- 
 which will serve as a sort of antithesis to the character of the face 
 portrayed. Peculiar ornaments, highly wrought, or calm and quiet sur- 
 faces, will sometimes come in charming opposition to the cast of head 
 or features represented. 
 
 If certain accessories, a bit of architecture, furniture, or anything^ 
 that hints at space around or on either side of the sitter be projected 
 into the background, the effect is often very happy. A sense of 
 space beyond that circumscribed by the canvas is thus suggested, and 
 in so natural a way as not to appear obviously sought after. It is 
 quite surprising what may be done by art when a true taste directs it. 
 Taste and selection mean so much in portrait painting, they are so 
 intimately connected with every part of the work, that no student or 
 painter can afford to slight anything that exists in the area of the 
 canvas he is at work upon ; certainly not that atmosphere, within which 
 a human being is made to stand out as a living personality. 
 
CHAPTER IV. 
 
 MODELING. 
 
 AHEAD and figure, drawn and colored merely, is not necessarily 
 a portrait in the best sense of portraiture. No great and 
 serious work of this class exists that is not something much 
 more than a map, as it were, of the person represented. The coloring 
 may be more or less truthful, the expression may resemble the indi- 
 vidual whom it is intended to portray ; but the actual volume of the 
 head and body, the sense of bulk, one plane leading to another, and so 
 roundingf that the beholder is made sensible of another side to this 
 countenance that faces you — all this must be conveyed or the face will 
 be a mere mask, a shell. We all have seen such things, and they are 
 called portraits, but it is almost needless to say that they fail to 
 portray. 
 
 The human head has first of all a skull, and this frame-work nature 
 has covered with various muscles, cartilages, features, and hair in such 
 manner that the greatest variety is given to its final conformation, 
 although the scaffolding itself — the skull — differs comparatively little 
 in general character in heads of a particular race. Now, it is the 
 business of the painter, in the first place, to hint, as nature does, at 
 this solid construction upon which the ornaments of beauty and char- 
 acter are built. 
 
 Light and shade will discover them, color will enhance them, but at 
 all times the sense that the surfaces which charm, or the planes that 
 revolt, have an underlying basis of bone and sinew must be somehow 
 felt. And in every well-conditioned portrait this fact will be appar- 
 ent — not obviously so, any more than it is in nature, but sufficiently 
 for the purpose of giving the impression of reality and life. 
 
 The modeHng of a head is of course understood to mean that 
 variation of surface by which the forms acquire projection and relief : 
 this may be rugged or calm, the protuberances may be harsh in charac- 
 ter or suave and soft, for the greatest variety of plastic form is to 
 be found in the small area of the human head and countenance. 
 
 i8 
 
MODELING. 19 
 
 Light is pitiless, and spares nothing that it falls upon ; but light is 
 beneficent too, and discloses charms as well as blemishes ; so that the 
 whole, the gamut of ugliness and beauty, is played upon according to 
 the character of the forms or modeling that it reveals in the human 
 face. Give, then, this variety as it is disclosed to you ; but in painting 
 a portrait choose that angle of illumination and that aspect of the head 
 which will be most propitious for its interest and charm. Do not, 
 therefore, be as pitiless as light at times can be ; for it can attract as 
 well as repel. It is the privilege of the portrait painter to select. In 
 this selection much naturally depends on the type of individual you are 
 to portray. The smooth, calm planes of a young girl's face demand 
 rather a full and quiet light to give that simplicity and directness of 
 effect that is desirable in the representation of forms that possess no 
 bold relief, but which depend for their interest on the placid play of 
 light on surfaces that merge gently from one plane to the other. Such 
 modeling may be kept very simple ; the lightest touch will change the 
 plane. The relief and construction may be attained completely in a 
 very light key of color, so that half tints and shadows used with the 
 greatest reserve will still give all that is necessary of construction and 
 body to the forms interpreted. These same suggestions may be 
 applied with advantage in portraits of infants and children. The eye 
 is so sensitive that it takes in quickly the range of light and dark by 
 which you intend to construct this delicate face ; and in the case of 
 childhood or youth the impression is invariably truer and more entranc- 
 ing when realized on a high, light key. 
 
 There are many instances when the nature of the sitter requires a 
 much more vigorous and dramatic mode of lighting ; when the peculiar 
 surfaces of the head and face call for a marked effect of light and 
 shade. This is for the painter to decide, and students are recom- 
 mended to place subjects whose faces denote ruggedness and force in 
 such a light that the sinuosities of the modeling and the severity of 
 construction may be fully brought out. This vigorous effect may be 
 obtained by using a high side light and by turning the head somewhat 
 away from it, but exposing the larger area of the face to the direct illu- 
 mination. Even in a forceful portrait there is such a tendency to exag- 
 gerate the strength of the light and shade that I must caution the 
 student against it. Thinking to gain force, he paints the shadows 
 many tones too dark, and frequently forgets that flesh in shadow is not 
 
20 PORTRAIT AND FIGURE PAINTING. 
 
 black. Modeling is a much quieter matter in even vigorous work 
 than is generally supposed ; and I can recall, now, portraits where in the 
 deepest shadows there is scarcely a hint of black. This intensity is 
 only relative. See to it that your highest light is at concert pitch, so 
 to speak, for the most powerful head may be constructed in vigorous 
 light and shade, and still not be black, nor anything like it. 
 
 Look upon a head as an object with protuberances of very slight 
 projection. The nose is the most prominent, and in this sense " an 
 inch on the end of the nose " is a good deal indeed. If so, then the 
 planes of the head most remote from the light are only a few inches 
 farther off than the tip of the nose ; and these planes are affected by 
 all sorts of surrounding conditions — reflections from the floor, the 
 furniture, etc. So, naturally, no interstice of the head or face need be 
 as black as a coal hole. The result of any such enforcement of shadow 
 is false, discordant, and out of place. 
 
 The beauty of a well-modeled head consists in the reserve with 
 which the painter goes from plane to plane, as naturally as light 
 travels, catching here and losing there, but violently indenting nowhere. 
 There are half tints and shadows existing in some portraits that are so 
 ■enforced as almost to suggest a wound rather than a simple surface fol- 
 lowing another near to it. The difference in " value " is not so great 
 as to simulate an indentation or hole. 
 
 This is bad modeling, a lack of serious observation. Try to avoid 
 it ! Nothing so belittles a work of portraiture as this exaggerated 
 and false insistence on half tints and shadows. It would not be done 
 so often if the painter would train himself to grasp the impression of 
 the head as a whole ; to become possessed of the fact that here is an 
 object of varied surface, no one point of which is so far removed from 
 the light that it is not influenced by it. It is all illuminated, some 
 parts more, some parts less. Construct it in its simple planes, model it 
 in its varying surfaces, but do this so frankly, so honestly, that the pas- 
 sage from one form to another will be quiet, dignified, simple, and 
 broad. 
 
 There is no doubt that the difficulties of modeling are increased 
 -when using color ; for there is then the additional problem of retain- 
 ing truth of hue in both lights and darks. This demands a knowledge 
 of the palette that can only be acquired by experience and through 
 many failures. But to succeed finally in doing this is to succeed in 
 
MODELING. 21 
 
 tnuch. And this quality of modeling does not apply only to the paint- 
 ing of the head ; the form also must be felt beneath the costume, or 
 we will have a human head with the clothes of a manikin. 
 
 The writer recently saw a portrait where the head was admirably 
 painted, but it issued from a coat that contained no body. The 
 planes that should have indicated the form within were ignored, 
 jNo variety was given to the contour, which should have melted 
 into and emerged from the background. Nothing of this was shown ; 
 a flat outline of no varying interest terminated the contour of the 
 coat. This was evidently a case where life study only had been 
 followed, and where no attention was given to the study of drapery 
 and accessories. 
 
 It is almost unnecessary to say that it is quite as essential to con- 
 struct and model the figure of a portrait as it is the face. If a bust 
 picture — head and shoulders — the forms beneath the drapery must be 
 hinted at, and the play of light revealing shoulder and arms under the 
 material that covers them is always a point of artistic interest to the 
 true painter. 
 
 A distinguished French portrait painter has well remarked that a 
 painted head should be so modeled that a sculptor might work from 
 it as satisfactorily as he could from life itself. This statement strongly 
 shows how perfectly the planes of the head must be rendered in a por- 
 trait. The features may be characteristic, the proportions accurate ; 
 but if the prominent and receding planes are not justly observed and 
 given by variations of tone and true emphasis of light and dark the 
 head will not present that bulk, lacking which it does not truly exist. 
 The temples are receding planes that form a passage, as it were, to the 
 back of the skull. The face is merely one side of the sphere, yet some 
 portraits are so faulty in this respect of construction that they appear 
 like a section of a head, giving only the mask, without even a sugges- 
 tion that there is a back to the head. 
 
 The proper management of the contour will greatly aid in giving 
 this effect of turning, to the other side. Look for these indications 
 closely. They will be found in the play of light and shade on the top 
 and sides of the head, and just as surely as that there is no doubt in 
 your mind that the head is spherical which you look at in life, so surely 
 should your portrayal of it impress the beholder by its rotundity when 
 painted. 
 
22 PORTRAIT AND FIGURE PAINTING. 
 
 The truthful relation of the background to the varying values of 
 the object in front as they come in contact with it is another way of 
 expressing what is meant. 
 
 Of course the interior modeling, being more remote from the back- 
 ground, is more easily compared with those " values " existing closer 
 to the contour and in immediate proximity to the background. If, 
 however, these latter tones are truthful those painted in just relation 
 to them will not be false. 
 
 It is in the construction of a head that its large and general char- 
 acteristics lie. The proof of this is in the fact that a portrait strong in 
 this respect may be recognized without the close definition of a single 
 feature. How often do we recognize friends at a distance too great to 
 discern their features ! The broad planes of the head are, however, 
 perceptible, and by these we know them. 
 
 Much, then, is achieved in the production of a likeness if the student 
 has succeeded in satisfactorily constructing and establishing the planes 
 of the head he is to paint. The interior likeness, the expression, 
 which is more intimate, will logically succeed this strong, broad prep- 
 aration. And when we come to discuss that topic of portraiture it 
 will be seen how naturally it will follow in the wake of these general 
 instructions on the value and necessity of good construction. 
 
 It will be an exceedingly good practice for the student, before 
 undertaking the more difficult task of modeling a head in color from 
 life, to place himself before some good cast and endeavor in painting 
 it to employ the hints here given for the observance of the planes of 
 the head. This exercise will familiarize him with the use of the brush 
 and the manipulation of the pigment, for it will be necessary to get 
 the color of the cast. This will not be found to consist entirely of 
 black and white, and although much simpler than that of flesh, will 
 still demand a fair color sense to secure it. With these frank tones 
 the plane may be more readily seized, the half tints, high lights, and 
 deepest darks can be studied with less excitement, than when encoun- 
 tering these same problems complicated by the varied color and the 
 agitation which is more or less incident to life study. 
 
 Portrait painting is such a serious art, its demands are so exacting, 
 the perception demanded for its successful exercise is so keen, and 
 everything about it must be so eternally right, that on the threshold, 
 when preparing the foundation, in a way, on which is built a human 
 
^ ^H%^ 
 
 .^!t!^ 
 
 
 iV^ 
 
 
 l\»: 
 
 ' i'' 
 
MODELING. 23 
 
 personality, it does not seem out of place to insist strongly on this 
 groundwork. 
 
 Lay it solidly. In the first painting use a palette loaded with 
 color, and as a medium nothing is likely to serve you better as a prep- 
 aration than turpentine only. Fill your brush with pigment and paint 
 the shadows with as full a brush as you do the lights. If they are in 
 true relation to the background and to the lights and half tints of the 
 head there will be no danger of their becoming opaque by this method. 
 After allowing this first painting to dry thoroughly you may scrape 
 the canvas somewhat before the next painting, and in all subsequent 
 work upon it use oil if any medium is required. 
 
 The first painting is a critical one for the success of the picture, for 
 it is in this first attack that you are to establish boldly and truthfully 
 the planes of the head ; hence it is invaluable to have done this with a 
 full brush. While the impression is new and fresh these "values" are 
 likely to be truer and more vital than later, and it happens frequently 
 that some of this first painting is left as the final work of the portrait. 
 
CHAPTER V. 
 
 COLOR. 
 
 WE have now come to one of the most important factors in 
 portraiture — color. It is perhaps the subtlest element, for it 
 is full of mystery. The hand of one painter may mix pig- 
 ments that will vibrate and glow, while under the hand of another the 
 same tints will appear to languish and die. 
 
 This knowledge of the resources of the palette, this acquaintance 
 with the possible range of the pigments employed, can be acquired only 
 by assiduous experiment. When you are master of this keyboard of 
 hues you may then strike harmonies ; but remember that each indi- 
 vidual you paint is set to a different key, so to speak ; for if you forget 
 this your color will become conventional and mannered. This will not 
 happen, however, if you cultivate that habit of observation which no 
 true painter is without. The charm of nature is its variety — the joy of 
 the artist is in discovery. To a sincere painter nothing is arbitrary. 
 Nominally lips are red. Are they red in every person he sets about to 
 paint ? Are they not pink, purple, gray almost, and colorless quite, 
 according to the health and habit of the individual he is studying ? 
 Observe this, then, and reproduce it truly. 
 
 Before giving suggestions regarding the manipulation of pigment 
 it would be well to insist on the importance of close observation. In 
 this way you may become impressed by the dominant and characteristic 
 color aspect of the sitter. Let this fully possess you and you will not 
 be tempted to represent it by an arbitrary or stereotyped scheme of 
 flesh tint. Flesh varies in color as greatly as does individual expres- 
 sion. The dissimilarity may perhaps be more subtle and not so 
 readily distinguished, but the complexion or coloring of no two persons 
 is exactly identical ; and the painter who attempts to portray different 
 subjects with a palette pitched in one and the same key of color is 
 likely to be either obtuse or insincere. 
 
 The pallid, the ruddy, the high liver, the temperate, the athletic, 
 and he of merely good digestion pass before the vision of the portrait 
 
 24 
 
COLOR. 25 
 
 painter, each possessing some peculiar color note that life and habit 
 bestow; each different, all interesting. The sedentary, the active, 
 those of feeble vitality and of bounding health, must be made to live on 
 canvas in the possession of their normal bodily conditions ; no more, 
 no less. One often hears portraits criticised as being too florid or too 
 pale for the particular person they are intended to represent. Such 
 strictures are sometimes just, and the artist has in that case failed in 
 catching the salient note of color that characterizes his subject. This 
 sometimes results from starting wrong — on too colorless or too ruddy 
 a key. Try, then, to begin well. Look long and earnestly at your 
 model. The nominal fact of the complexion will impress itself on your 
 mind as fair or dark, florid or pale. This will be the first direct 
 impression. After this whatever variation health or habit suggest will 
 be observed ; for in time the scrutiny of the painter will become as keen 
 as that of the physician, who discerns a wholesome or impaired vitality 
 from the external aspect of a man. The painter may go even farther 
 than the physician in discernment, for, as we shall see later in consider- 
 ing the subject of " expression in portraiture," his perception should 
 enable him to discover the spiritual attributes of his subject. 
 
 Let us now, however, investigate this question of color as completely 
 as may be. It is full of difficulties, full of pitfalls. Much has to be sac- 
 rificed to gain it, and unless great care is taken, drawing is completely 
 lost in the effort to paint freely. To confine one's self closely to the 
 line prevents that freedom of touch which has in itself something of 
 freshness and luminosity; therefore it is most essential to have a 
 thoroughly correct drawing to begin with, and such a knowledge of 
 the form and position of the features that you need not be overanxious 
 to retain their outline through all the stages of the work. At any 
 moment, then, when the right tone Is found on the palette, the features 
 may be touched in with a turn of the brush, and in their truthful sur- 
 face value hold their proper place in the modeling of the face. 
 
 If this confident method of drawing is not acquired the painting is 
 likely to be labored, and under such conditions pure, fresh color is 
 practically impossible. The mixing of the actual pigment is a matter 
 of much delicacy ; for if the colors are worked much with palette knife 
 or brush before applying them to the canvas they have already lost a 
 great deal of the vibrating, luminous quality. Try to drag the brush 
 lightly across the pigments you are combining to make the required 
 
26 PORTRAIT AND FIGURE PAINTING. 
 
 tone, but mix them so loosely that fibers or streaks of the different 
 colors remain in parts almost pure. The hue sought for will be made 
 by these component parts, but it is not at all necessary that they 
 should be ground, crushed, or worked into each other in order to pro- 
 duce this hue. On the contrary, you defeat the end you aim at by 
 thus mixing them, for you will produce a tone that will not stand for 
 the hue you sought after it is laid on the canvas. It will be " dead 
 color," and it will not hold its legitimate place as a surface tint in the 
 head you are painting. The expressions " tired color," " dead color," 
 are by no means mere figures of speech. A touch of dead color seems 
 to vitiate whatever good color it comes in contact with ; while the right 
 or wholesome hue substituted for it will at once establish the unity of 
 the color as a whole. This goes to prove how fatal dead or tired color 
 is to any right or true painting. 
 
 It will often happen that after working for some time in a satis- 
 factory vein of color a touch will suddenly be made that seems inopera- 
 tive. It does not accord with the rest, and acts as a blight, as it were, 
 on the freshness and vitality of what had gone before. Be sure then 
 that you have overworked the pigment, or that you have added an 
 unnecessary tint to the combination that had already proved effective. 
 Very often mere carelessness, or indisposition to replenish the palette 
 with a tint that has run low, will cause one to take the next best at 
 hand, which is just sufficiently out of key to the hue required to disturb 
 every other element of color in an otherwise harmonious whole. Do 
 not let indolence or indifference work this harm. Be on the alert, and 
 sensitive . to these particles of pigment that will sometimes creep into 
 ^?our color even without your knowledge, working over from one part 
 of the palette to the other, unnoticed until on the canvas, and in the 
 wrong place. 
 
 This question of color is indeed a subtle thing. Even the right 
 hues overmixed are rendered dull and dead by too much working, and 
 may prove entirely ineffective when laid on the canvas. It is mysteri- 
 ous almost, as I have said before, how, given the same material, one 
 person will call forth living, glowing, vibrating, harmonious tones, and 
 another will produce flat, dull, unresonant hues, lifeless and untrue. 
 One would think sometimes that the very life currents of the painter 
 communicated themselves to the tints he makes use of, for they some- 
 times gain a vivacity that the tube colors alone cannot possess. It is 
 
COLOR. 27 
 
 only possible to give hints regarding the management of color, to sug- 
 gest what methods are harmful, to tell what practice in manipulation is 
 likely to prove undesirable, and what will mitigate some of the diffi- 
 culties that a student is sure to meet with. The writer of these chap- 
 ters pretends to do nothing more than this. 
 
 Beginners generally lay on the color too thinly, the result being 
 that the tones are more like stains than actual surface tints. It is 
 impossible in this way to secure a sufficient body of color to sustain the 
 tone in its purity. This thin painting sinks in and soon changes its 
 character of color, so that it no longer stands for a plane of a certain 
 hue receiving light — it is dead — because without the requisite body the 
 pigment seems to be inactive, fails to represent the quality of light 
 upon a form. Without a reasonable supply of this actual material, 
 faithful modeling may not be achieved ; for the passage from one plane 
 to another cannot be given unless there is pigment enough employed to 
 preclude the possibility of a change that will destroy the integrity of 
 the surfaces. Paint, then, with a full brush, and load the shadows 
 almost as heavily as the lights. Transparency of shadow is not sacri- 
 ficed by doing this, for transparency comes by depicting the shadow in 
 its truthful relation to the light, and not, as some think, by loading the 
 lights and painting shadows very thinly. In fact, it is doubtful if a 
 perfectly true relation of the one to the other is to be secured in this 
 way — at any rate the resultant facts are in favor of a solid painting 
 throughout. 
 
 Do not "starve" your palette. Put out much more tube color than 
 you will be likely to need, for it will serve for the following day, as 
 only a portion of it is mixed with white in the process of "setting the 
 palette." 
 
 Of the actual setting of the palette nothing has yet been said ; this 
 is the place to mention it. A uniform system of ranging the colors on 
 the palette is desirable, and when found convenient should be adhered 
 to, for in the absorption of actual painting one then knows in what part 
 of the palette certain tones lie, and he takes up his color from those 
 much as the musician touches certain notes on the keyboard, almost 
 without looking. A direct and simple method of arranging the colors, 
 and one which experience has proved convenient and logical, is the 
 following : Begin at the top of the palette, and near the outside edge, 
 by placing the white, and follow this by yellow ochre, light red, ver- 
 
28 PORTRAIT AND FIGURE PAINTING. 
 
 milion, madder lake, cobalt, raw umber, burnt sienna, and finally ivory 
 black, which at short spaces apart will more than half surround the 
 palette. From each of these pure tube colors mix, using the palette 
 knife, a certain quantity with white, an inner row of tones, always 
 excepting burnt sienna, which it is well to reserve for rich and dark 
 accents. Prepare these "pats" of color with white while looking at 
 the model, and try to attune, so to speak, this scale of tints to the com- 
 plexion of the subject. If the coloring of the person you are painting 
 be dark and rich, suggest this fact on the palette in the preparation 
 you are now making ; for it will greatly facilitate your work if the 
 palette you set give strong hints of the color aspect of the head before 
 you. And furthermore, the nearer this is set to the prevailing tone, 
 the less actual mixing with the brush will be required. 
 
 Continuing this subject of color in portraiture, it would be well for 
 the student to realize the fact that the whole range of tones required 
 for painting any portrait is to be found in the row of pigments placed 
 oii the outer edge of the palette, as mentioned in a previous chapter. 
 
 These, though comparatively few in themselves, are susceptible of 
 an infinite variety of combinations. In the extremes are tones that 
 represent ruddy health and the pallor of death. But between these 
 there is a range of differences so subtle that the very habit of a man's 
 life may be suggested by the just and clearly stated color aspect 
 of the subject portrayed. There is a marked difference in color 
 between a person of sound digestion and one who is dyspeptic ; 
 but no such obvious contrast is found between one ordinarily healthy 
 person and another of somewhat similar complexion. It is of these 
 more evasive yet real differences that it is necessary to render 
 strict account. 
 
 It is the province of the artist to observe finely and to report truly. 
 Think, then, of the habits of your sitter. If he is a man of the world, 
 or woman either, the results of good living, fine wines, a leisurely 
 existence, and normal digestion will impart a certain wholesome activity 
 to the skin that is in itself of color interest ; quite the reverse of the 
 pallid or bilious or irregularly nourished nature of one who perhaps 
 thinks little of the refinements of actual living, or for whom the 
 anxieties of life have left no time nor taste for its physical pleasures. 
 
 These facts must all be considered when in the presence of your 
 subject, for you have the problem presented of placing this personality 
 
COLOR. 29 
 
 on canvas in its true visual impression ; so that if at any point of your 
 work you are in danger of falling into a colorless key, or the reverse, 
 remind yourself of the characteristics of your sitter. 
 
 You will then say to yourself, " This coloring does not represent 
 the type before me." For, instead of the tones of the well-nourished 
 viveur, you may have fallen into those of a dyspeptic clerk, or, on the 
 other hand, those of a bouncing milkrtiaid, if the subject happen to be 
 a woman of the world. These are serious mistakes to make. To 
 prove, however, how seldom this view of portrait painting is taken by 
 artists generally — although one must believe that painters of distinction 
 hold this or some view which answers the same purpose — the story is 
 told of a distinguished lawyer who, about sitting for perhaps the 
 twentieth public portrait of himself, this time to a young and rising 
 artist, made the remark : " Well, what color are you going to paint 
 me ? " He then went on to say he had been painted as many different 
 colors as there had been artists to whom he sat. 
 
 It is a fact that a portrait may be a likeness without truth of color, 
 and the chances are that professional painters >vill fall into mannerisms. 
 They attune their palette to a certain arbitrary key of color, and it is 
 easier to play the same tune on all variety of features. This method 
 will never be productive of great art, nor is it wholesome in any way. 
 It should be the joy of the painter that in his art he is making con- 
 stantly new discoveries. No two sitters are any more alike in coloring 
 to the sensitive eye than they are in feature. To a high order of mind 
 this is apparent, and the true artist is always alive to this difference. 
 This seems to me to be the only honest, sincere, and progressive way to 
 look at Nature and to reproduce her. For although this question of 
 color is so greatly neglected, it has so great an importance in por- 
 traiture that no single topic has seemed to demand quite so extended a 
 treatment. And yet how many modern portraits are painted in which 
 the personal coloring of the sitter is regarded as of no high impor- 
 tance ! An artist would not dare to paint a brown-haired person with 
 hair of black, nor a fair-haired one as having brown hair. These dis- 
 tinctions are too broad and obvious, and may be seen by all. But a 
 painter will often make a fair skin much too ruddy, or paint a com- 
 plexion, perhaps denoting a fine habit of life in the sitter, of a com- 
 monplace and stereotyped flesh tone, indicative of nothing that the 
 subject reveals. This is either obtuseness or mannerism, perhaps 
 
30 PORTRAIT AND FIGURE PAINTING. 
 
 both, but it is certainly not distinguished, and is certainly not to be 
 commended. 
 
 Let it be your earnest effort to seek the subtle truths, which are 
 just as real as the more obvious ones. They are of a higher order and 
 will stamp your work with a style that will be personal, and will speak 
 volumes for your sincerity and love for your work. Try to reach the 
 correct tone by the most direct and simple means, remembering that 
 when the right tint is attained any additional color will only cloud it 
 and detract from its purity. Experience will teach how much of one 
 color or another is needed to modify the quality of the tone, whether it 
 be warmer or cooler than the flesh before you. Try to strike a con- 
 sistent and united tone. Do not be diverted by the charm of the 
 separate bits of color you perceive in the model before you. Look 
 rather for the whole impression, and endeavor to fix this on the canvas. 
 The desire to paint merely pretty color is a pitfall that many are caught 
 in. What is called sweet color is rarely true color, and it is more than 
 likely to be weak. Think of the pervading blood that nourishes the 
 individual. Remember that the head and hands represent the flesh 
 which is generally apparent in a portrait and is just that which is 
 most likely to be exposed to the influence of wind and sun, and con- 
 sequently the most vigorous part of the whole body in point of col- 
 oring. 
 
 The strength and depth of color that mark the best work of the old 
 masters is not due, one may assume, to any great superiority in the pig- 
 ments themselves, but rather to the workmanlike manner with which 
 these colors were manipulated. 
 
 Their tones appear mixed with a lightness of hand that never 
 destroys the vitality of the tints by overworking. Then, too, plenty of 
 the pigment is used. It is almost useless to imagine that thin painting 
 will possess any permanent luminosity. There is nothing to sustain it. 
 The canvas will not, for if the color is put on thin it will sink into the 
 grain of the canvas and make merely a dead ground. 
 
 It takes courage and a clear head to mix a large amount of a certain 
 tone and to keep it consistent, and, in addition to this, to have at your 
 disposal all the intermediate tones, the shadow tones and the high 
 lights — all these gradations ready at hand and in such sufficient quan- 
 tity that you may lift a brushful of any of the required tints and lay 
 them in their place on the exact plane of the head where, so to speak. 
 
COLOR. 31 
 
 they most perfectly fit. For we are always modeling with our color, 
 and certain tones as they lie on the palette suggest the plane they 
 will sustain, or the passage that intervenes between one plane and 
 another in the countenance before us. These tones are laid on with 
 a full brush of the required color ; for however slight the difference 
 m tone between one plane and another, there is the same demand for 
 the right color and plenty of it : no smudging or thin painting will give 
 quite the true effect, and, indeed, it is never so satisfactorily realized as 
 by frank, solid painting. The most delicate shade of difference in a tone 
 will perfect or mar the modeling: a surface will be made to appear 
 round or. flat by this difference of a shade. See to it, then, that you 
 thoroughly understand the operation of the color you use. Experi- 
 ment with it. Find out what gives projection to, and what causes 
 depression of a surface ; and believe always that sufficient modeling 
 may be attained without strong contrasts of tone. The calmer and 
 less violent the modeling the larger and more dignified will be the 
 impression of your work. Sharp contrasts belittle the aspect of a 
 head. 
 
 Too much half tint and no pervading sense of light seem to con- 
 tract the forms and diminish the size of the object so treated. The 
 eye naturally takes in the salient facts of the head — its direct color 
 impression, with eyes, nose, and mouth as prominent facts in the 
 slightly modeled surface. The half tint and accidental notes of color 
 are secondary considerations, and should be sacrificed to the main pur- 
 pose of presenting a vivid and telling impression of the face you are 
 studying. Let this be given as strongly as possible in the personal 
 coloring of the sitter. 
 
 Some painters, of reputation even, paint a sort of generic man in 
 point of coloring at, say, the age of forty, or sixty-five, as the case may 
 be ; not an individual man, whose complexion at those respective 
 periods of life differs as widely perhaps as do his personal habits and 
 experiences. A conventional scheme of coloring for a particular age 
 of the subject, is wide of the mark, and for the very good and sufficient 
 reasons suggested above ; yet mannerisms of this fatal kind are 
 acquired and practiced more often than is generally supposed. One 
 of the most irnportant objects of this book is to urge on the part 
 of those studying art a constant recourse to nature for all that they 
 do. In the matter of color the practice of referring to nature is 
 
32 PORTRAIT AND FIGURE PAINTING. 
 
 supremely important, for perhaps no one element in art work becomes 
 so readily deteriorated if not sustained by continual draughts at the 
 fountain-head, as this very one of subtle, elusive color. So much 
 affects it that leaves mere form unchanged. The interest of a portrait 
 lies largely in its color, else black and white only would suffice for the 
 resemblance. 
 
 Now if the tone is impersonal, arbitrary, and does not depend on 
 the subject, but on the whim of the painter, the likeness fails as strict 
 portraiture, and unless the artist be a genius is not likely to be inter- 
 esting as a mere work of art. Many portraits may be full of interest 
 that are not strictly faithful representations of the subject, but they are 
 works of mature painters, and are not to be quoted as examples for the 
 student to follow, whose aim it should be to possess himself of all the 
 natural facts that may be gained by earnest study. 
 
 Strive, first of all, to be good workmen ; the production of fine art 
 will come later if it is in you. There is a painter of reputation who 
 years ago studied in Munich ; he was very earnest, and full of talent 
 also. One day he painted a head that, although not faithful to the 
 model, was the admiration of the school, it seemed so strong in point 
 of color. Highly elated, he put it under l^is arm and quietly went to 
 the Pinakothek, or National Museum, and hurried to the room in 
 which are hung many canvases by Rubens : once there, this clever stu- 
 dent placed his " strong study " on the floor beneath the brilliant 
 paintings of the Flemish master. Greatly to his dismay the color he 
 had imagined so fine in his own work now appeared dull and heavy, 
 and he took it away as fast as he could, much crestfallen, but wiser. 
 This goes to prove that it is only after long acquaintance with Nature 
 that the artist may take liberties with her, and succeed in so doing, and 
 that too, only if he have the genius to abstract new truths from her. 
 With Rubens it was safe ; but be sure that even with him success was 
 the result of patient and faithful study. 
 
 Some well-known painters in times past employed a variety of proc- 
 esses by which they attained certain results in portraiture. They first 
 began by laying in what was termed " dead color," almost a monotone ; 
 this was left to dry hard before the second painting, in which they 
 imitated the flesh tones of the subject. Such an underpainting was 
 supposed to form a sort of basis which tended to sustain the color 
 applied in subsequent paintings and the successive sittings were carried 
 
COLOR. 33 
 
 on over this preparation by different stages until the portrait was com- 
 pleted. This method seems neither direct nor very logical ; for the 
 absorption of mind demanded to develop the coloring of the various 
 parts often resulted in very charming "bits," but as often detracted 
 from the force of the work as a whole. And as for the argument that 
 the underpainting sustained the colors superposed and added to their 
 brilliancy, it is by no means certain that the " dead color " was any more 
 serviceable in doing this than a solid first painting in color as near as 
 possible to the complexion of the sitter would have done, for this has 
 the additional advantage of giving an actual impression of the face one 
 is depicting with all the vividness of " first sight," before the mind has 
 had time to become diverted by the secondary considerations of inter- 
 mediate and unnecessary touches of color. 
 
 If a portrait is anything, it is probably, first of all, striking ; that is, 
 the semblance of a human being projected on the canvas by another 
 who has seen the essentials of a personality, and reported them truly. 
 And for this reason the student is advised to look only for these 
 essentials ; to shut his eyes, if need be, to whatever will distract him, 
 or lead him away from this vital fact ; otherwise he will diminish his 
 power; for it is natural to think that the right touch of color here or 
 there will help to emphasize the likeness, which seems so elusive. 
 This, however, does not aid, for the character lies in the broad planes 
 of construction, and in the dominant and salient tone of the head as a 
 whole. Seek strength before charm. The charm if it is there will 
 come naturally and without effort: the greatest and most powerful 
 works in portraiture are those in which the coloring appears most 
 simple. Indeed, Nature herself teaches us this. Our friends and 
 people we meet are defined mentally to ourselves as dark or fair, ruddy 
 or pale, not necessarily beautiful in coloring, except as the general 
 impression received may be more or less agreeable. 
 
CHAPTER VI. 
 
 ACCESSORIES. 
 
 THERE is probably no element which enters into the making of 
 a portrait that admits of such great variety, or contributes so 
 much to its pictorial interest as this of the accessories. A wide 
 choice is open to the painter in the selection of that which shall be 
 most fitting. Indeed, the individuality of the subject suggests strongly, 
 at times, what shall most appropriately be used as a " setting," so to 
 speak, of a particular personality. The surroundings should be in 
 good taste and harmonious with the general aspect of the person 
 painted. A sort of natural environment should be selected, so that 
 the figure may appear to belong by right to the material objects that 
 relieve it. If these accessories be well chosen, the personal impression 
 of the sitter will be enforced much in the same way and for the same 
 reason that the carefully appointed scenery in a play upon the stage 
 strengthens the local color of the representation, and emphasizes the 
 sense of reality. 
 
 In portraiture, where action is usually out of place, the painter may 
 legitimately resort to those many aids that accessories afford. Be 
 sure, however, that these are chosen and made use of with judgment 
 and taste. Of course a likeness, a resemblance, may be established 
 without the assistance of anything beyond a strict adherence to the 
 facts revealed by the face before you. Paint merely these and you 
 may produce a portrait ; but portrait painting as a profession requires 
 more than this. The demands of the time, peculiarities of dress, the 
 fashion of the moment, have at all periods taxed the artist's powers in 
 the work of portraiture over and above facial delineation. Rich stuffs, 
 rare porcelains, furniture, interior decoration or ornament, all lend an 
 interest, and, artistically managed, contribute to the aesthetic value 
 of a portrait. Accessories of course should never be employed merely 
 to fill up a canvas. The right thing should be felt to be necessary, 
 and when introduced there it should impart such a sense of fitness that 
 to remove it would be a distinct loss to the picture. 
 
 34 
 
ACCESSORIES. 35 
 
 Whatever, therefore, is introduced into the area of the space repre- 
 sented in a portrait, aside from the subject itself, may be regarded as 
 the accessories ; and it is needless almost to add that these should 
 always in a well-conditioned portrait contribute to its effectiveness as 
 a whole. The costume itself is a large accessory to a portrait, and 
 artists of position generally insist that the whole question of dress shall 
 be left to their taste. The very young painter may not have this 
 privilege ; but he should certainly, by suggestion at least, endeavor to 
 ward off the filial or sentimental feeling on the part of his sitter which 
 would insist on the perpetuation of some monstrosity of jewelry or a 
 violent color of gown. The early and struggling years of the portrait 
 painter are often darkened by the compromises he has to make between 
 his artistic conscience and the material rewards of his profession, Of 
 course, strictly speaking, everything should be left to the painter, and 
 in time, if he is successful, everything is left to him. The beginner 
 is recommended, however, to be as firm as possible in enforcing his 
 right to the selection of the accessories: even to the dress itself, when 
 engaged on a portrait. In this way the painter makes himself entirely 
 responsible for the production, not only as a likeness, but as a 
 work of art. 
 
 It is in the choice of accessories, probably, as much as in any other 
 detail or element of the work, that the painter's taste, or lack of it, may 
 be detected. By one unnecessary object introduced, or by a space 
 filled that would have been better unbroken, the artist condemns him- 
 self ; for to elaborate without meaning is the resource of the weak. 
 Restraint, judgment, and reserve are as impressive in this part of por- 
 trait work as in any other, and quite as essential. Many portraits and 
 particularly, perhaps, some of those of modern painters, suffer from an 
 overloading of accessories ; the desire to increase the color interest 
 of the picture is probably the cause of this. But by the knowing, the 
 connoisseur, by those whose opinion is of real value to the artist, and 
 through whose judgment the best reputations are built up and sus- 
 tained — by these, all subterfuges are detected, all unnecessary elabora- 
 tion set down as worse than valueless. Portraiture should be real. 
 The more real the more forcible. But to resort to the meretricious to 
 secure reality is to go the wrong way, and to defeat your purpose. 
 Each individual seems to suggest to the thoughtful painter a certain 
 atmosphere and environment in which he will move most naturally. 
 
36 PORTRAIT AND FIGURE PAINTING. 
 
 If this is so it will strike one as a mistake to present a rugged, hard, 
 and rough exterior amid too luxurious surroundings, or, on the other 
 hand, to portray a countenance indicative of an easy and gentle habit 
 of life relieved by severe and inharmonious accessories. 
 
 The writer recalls a portrait by a famous Frenchman in which a lady 
 dressed in white satin stood beside a gilt chair. As a background the 
 artist had rubbed in a conventional tone of brown and black which he 
 frequently employed in portraits of men. This ungenial relief in con- 
 junction with such delicate materials as white satin and gold called 
 forth a caricature in a comic paper, in which it stated that the unfortu- 
 nate lady had fled, at an alarm of fire, from her boudoir to the cellar, 
 and in her confusion had only been able to save one gilt chair. Sol- 
 ecisms of this kind, then, are sometimes committed even by the great, 
 for there was certainly a fair criticism in the caricature. 
 
 Whatever is used as accessory to a portrait should be merely an 
 accessory and nothing more : beware of overinsistence on things that 
 should be subservient. The mere pleasure of elaborating some interest- 
 ing object of still life will sometimes lead the painter astray by giving 
 this secondary factor as much prominence as the head itself. The 
 relative importance of such objects must not be lost sight of. Just as 
 much taste is required in their definition as in their selection. 
 
CHAPTER VII. 
 
 EXPRESSION. 
 
 THE first painter of any great renown, Polygnotus of Athens, was 
 so remarkable for his power of expression that it was said of his 
 Polyxena that "the whole Trojan war lay in her eyelids." Such 
 a statement of the possibilities of art in its early days should not make 
 us despair. It shows, however, what potency there is in expression, 
 and that it is within the means of painting to portray it. 
 
 Nothing, perhaps, in the whole field of painting is so fascinating, 
 nothing so evasive ; but for the purposes of portraiture there are few 
 qualities more essential. It might almost be said that expression is 
 the distinguishing mark of the highest intellectual achievement in the 
 portrait painter ; for form, and to a certain extent color, may be more 
 or less readily learned ; but the ability to define character as revealed 
 through expression seems to demand greater powers of analysis and 
 deduction than those required to attain mere technical proficiency. 
 
 Babyhood, childhood, youth, middle age, and old age itself are the 
 most obvious and ordinary conditions that call for treatment of expres- 
 sion which shall unmistakably fix the time of life. There is nothing 
 subtle in this — it demands nothing more or less than precision of state- 
 ment, fidelity to the facts before you. And yet even here many fail. 
 A child is perhaps made to look too old ; old age portrayed too young ; 
 juvenility becomes staid ; dignity of years is rendered frivolous. This 
 is a vital mistake, but one that is sometimes made by painters. If 
 failures like, this are possible, in what case, then, will such an artist 
 stand when subtleties that exact the closest scrutiny to detect require 
 interpretation at his hands ? Think of the lines that are worn in the 
 face by the conditions and experiences of life, and of how fierce contact 
 with the world indurates the expression, imparting sometimes a force 
 that is admirable or a hardness that repels. Now if the stress of life 
 ennobles or degrades the expression of those who have battled with 
 existence, there are also facial indications that to the observant eye 
 tell no less surely of a life of ease. A certain emptiness of aspect that 
 
 37 
 
38 PORTRAIT AND FIGURE PAINTING. 
 
 suggests no mental activity, no force of will, no power of deduction, 
 no latent possibilities of effort, seems to mark the visage of those from 
 whom life claims no task and exacts no struggle. Expressiveness of 
 feature is consequently wanting in such types, although beauty of form 
 and color may exist. Again, care, anxiety, and sorrow sometimes 
 stamp the countenance with gloomy lines. The artist, however, 
 should avoid perpetuating these, for they are often the result of tran- 
 sient conditions ; and who would wish to contemplate forever this 
 depressing aspect of the human face ? 
 
 Gayety, good nature, happiness, serenity, calmness, thoughtful ness, 
 benignity, patience, self-restraint, high-mindedness, and many other 
 qualities that shine through the countenance and give a permanent, an 
 ennobling, interest to the portrait, are expressions that are character- 
 istic of one or another of the individuals who sooner or later come 
 before the artist for delineation. Perhaps no element in portraits 
 generally is so subject to criticism, and it may be justly so, as this very 
 one of expression. It is not so often the tone of the complexion or 
 the color of the hair that one hears criticised as it is that of the charac- 
 teristic air or mien of the person it represents. Now this air, this look, 
 lies not alone in the features, but in the demeanor and attitude as well. 
 A portrait must have truth of pose as well as facial fidelity, to be 
 thoroughly expressive. The stolid and phlegmatic are as opposed in 
 general carriage to those who are alert and spirited as they are in 
 feature or expression of face. To give a sprightly attitude to an 
 adipose subject would be not only bad taste, but inexpressive. And it 
 would be equally meaningless to ensconce a wiry, nervous, and active 
 person in the comfortable embrace of an armchair, with a listless 
 arrangement of hands and a pervading aspect of inactivity. This 
 naturally suggests how expressive the hands are of the character, occu- 
 pation, or temperament of the sitter. To a close observer the hands 
 are a large index to the nature of the person they belong to ; they so 
 often supplement certain traits that the visage reveals that one might 
 almost as well get another than the subject to pose for the mouth, for 
 instance, as to take a substitute for the hands. And yet it is no 
 uncommon thing for artists, as a matter of convenience, to paint the 
 hands in a portrait from others than those of the sitter. After what 
 has been said this may be regarded as an undesirable practice, to say 
 the least. 
 
EXPRESSION. 39 
 
 This large view of expression in portraiture is held by many of the 
 most famous painters abroad. During the period that the portrait is 
 in progress, these painters are given many opportunities of studying 
 their subject besides the regular " sittings," which represent the actual 
 time passed in producing the work. That the painter may become 
 better acquainted with the peculiar attitudes of his subject, more famil- 
 iar with the typical "note," so to speak, of the personal aspect of the 
 individual he is painting, he is often invited to dine, to attend recep- 
 tions, or to join parties at the opera or theater by those for whom the 
 portrait is painted. In this way numberless hints and impressions are 
 doubtless received that influence the arrangement of the composition, 
 and so enforce the whole expressiveness of the work that the picture 
 becomes a portrait of a certain personality in its most fitting and char- 
 acteristic environment. It is this, as well as faithfulness to facial 
 lines, which enhances the sense of actuality in a work of this kind. 
 
 Such strong elements of characterization should not be overlooked. 
 The nervous or nerveless manner of holding the head, the apathetic 
 or vivacious way of sitting or standing, are among the qualities which, 
 if stamped upon the portrait, add greatly to the force of its expression. 
 These attributes of the subject should not, however, be overempha- 
 sized in either direction. Care must be taken to interpret peculiarities 
 in such just proportion that a living representation of the person shall 
 be the result. A too marked manner or too decided eccentricity of 
 attitude should be guarded against. By mediocre painters idiosyn- 
 crasies are often regarded as of prime importance, and the exceptional 
 made too much of, with the thought, perhaps, that in this way the 
 characteristics of the individual portrayed may be enforced. This, 
 too, is a mistake, the natural resort of one whose mastery is not com- 
 plete ; for when it is a question of a permanent production, like that 
 of portraiture, choice and taste are the factors that should be always 
 present, for these are the elements through which it becomes a work 
 of art. 
 
 There are often heard criticisms concerning portraits where the 
 expression revealed is termed unfamiliar, sometimes coarse, vulgar, 
 and so far untrue to the character of the subject. The fault may lie in 
 the failure on the part of the painter to give sufficient prominence to 
 the higher side of the nature before him, which side, if the criticisms 
 are just, is the one more commonly apparent to the world. It is just 
 
40 PORTRAIT AND FIGURE PAINTING. 
 
 here that the intellectual effort of the artist comes in — it is his province 
 to select, to choose ; and a large knowledge of the significance of facial 
 lines will qualify him to accept or reject with judgment. 
 
 There are perhaps few greater pleasures for the true portrait 
 painter than to study the faces that pass before him in the course of a 
 day, when his mind is in the mood to observe, and to deduct from the 
 variety of expressions, the sentiments, the passions, the indulgences, 
 the thousand conflicting feelings that reveal themselves to the scrutiny 
 of his cultivated and sensitive eye. 
 
 A well-known actress was once being painted during the produc- 
 tion by her of a peculiarly harrowing play — one which stirred intimate, 
 emotions, and engendered in the heroine a fierce sentiment of revenge. 
 So powerfully did the interpretation of this character affect the mind 
 and physical condition of the actress that she would come to the artist's 
 studio at times much unstrung, and in appearance more than her actual 
 acre. The difficulties under the circumstances of securinsf a faithful 
 portrait, and one that would give the impression of youthfulness and 
 sympathetic charm, were of course greatly increased. But the painter 
 had known her in other moods, and persistently kept in his mind the 
 aspect of his sitter as she appeared under usual and normal conditions, 
 employing the sittings in portraying the form and color, and waiting 
 for moments when the cloud lifted to catch what hints of the familiar 
 and habitual, such moments revealed. The result was a satisfactory 
 likeness, with nothing to suggest the exceptional conditions under 
 which the work was produced. It is this power of abstraction and 
 deduction that gives the painter control of the means by which to 
 secure truthfulness of expression in the large sense of the term. 
 
 The artist should always be alert to the unusual in his sitter. 
 Often the subject comes to the studio tired, depressed, moody, or 
 unhapp3'. These are certainly not the moments to choose for the 
 delineation of the permanent, the habitual, the normal. Things in 
 themselves transient are ordinarily out of place in a portrait, and 
 especially when the temporary relates to so essential a factor as that of 
 expression. If a passing or arrested action, like that of extending the 
 hand, is in questionable taste when perpetuated in portraiture, how 
 much more to be avoided are those peculiarities of expression which 
 have a direct bearing on the likeness when incident to a fleeting mood 
 that barely outlasts the time of sitting ! In this fascinating study of 
 
EXPRESSION. 41 
 
 expression it will be seen that the artist who is the keenest observer 
 is the one best equipped for the portrayal of the most truthful and 
 agreeable aspect of the person he paints ; for the very powers of 
 mind that contribute to the habit of close scrutiny are apt to make the 
 possessor peculiarly sensitive to exaggeration of any kind in delinea- 
 ting the human face. A sense of fitness in the expression to the 
 nature, temperament, and worldly condition of the individual he is 
 studying will restrain his hand when the exceptional and unaccountable 
 in aspect appear transiently, perhaps, but vividly enough to be recorded : 
 the thoughtful artist in such case should stop before fixing forever an 
 attribute upon his subject that in no essential way belongs to a large 
 and generous interpretation. 
 
 The painter is, to a certain extent, the guardian of the expression 
 as well as the expositor of the nature before him, and as he faithfully 
 or unfaithfully performs his ofifice of interpreter will the result be 
 lovely or unlovely, noble or mean. 
 
 This is no irresponsible task, the painting of a portrait. It is not 
 to reproduce the person superficially, as so much human bric-a-brac, 
 which is sometimes done — graphically correct, if you will ; it is much 
 more ; for it is the definition of a human character in fair and true pro- 
 portions, and if nature has treated it fairly the artist should not step in 
 to degrade. The thoughtful, contemplative expression of the scholar, 
 the lines that bespeak a fine habit of life in relative or friend, are pre- 
 cious documents to regard with pride and to show with pleasure, for 
 they preserve "the very manner of the man." What but power of 
 expression can do this ? It is the life of the portrait, and the reason 
 almost of its existence. 
 
 Is not this a field, then, to stimulate our highest efforts, and does 
 not this quality of expression call for great concentration of thought, 
 and the cultivation of our best powers of observation ? Strive to gain 
 this power, for it gives perhaps the most enduring note in portraiture ; 
 and comparatively unimportant as this element of expression may 
 appear, it is the mark of greatness to realize it completely in a work. 
 
CHAPTER VIII. 
 
 COMPOSITION. 
 
 THE part that composition plays in the making of a portrait is 
 perhaps a greater one than may be generally supposed. It is to 
 a large extent the faculty of composing a portrait well that 
 marks it more or less strongly as a work of art : the art of concealing 
 the art and giving to the picture the impression of nature is largely due 
 to the manner in which a work is composed. There are in this con- 
 nection a few fundamental facts that might be impressed upon the stu- 
 dent which, if observed, will be a great help to him. First of all, is 
 the matter of placing a head on the canvas, and this should be decided 
 while drawing it in the charcoal. Care should be taken not to place 
 the head too low — that is, not to leave too much space between the 
 head and the top of the canvas. The effect is generally more satisfac- 
 tory to the eye, and there is more dignity of impression if this rule 
 be regarded. In a profile view there should be greater space left 
 in front of the head than behind it. The drapery and all accessories 
 must subserve the demands of composition in a well-ordered portrait ; 
 but this should not be obviously done, for there are many and unob- 
 trusive ways by which everything pertaining to the work may be made 
 to assist the purpose of the composition. 
 
 In large, full-length portraits the lines of the drapery or the 
 materials employed may be utilized to almost any degree in directing 
 the attention to the purpose of the work, which is to represent a human 
 being in a familiar and natural environment. One should beware of 
 repeating lines or spaces if they do not serve a logical purpose : these 
 may be made valuable or the reverse, according to the intelligence 
 with which they are managed, and in portraits, as in all works of art, it is 
 the judgment and taste that they bear witness to which entitles them 
 to be regarded as productions of fine art. An agreeable balance of 
 light and shade may unobtrusively carry the interest to the head, or 
 the lines that an arrangement of the accessories may give will answer 
 the same purpose. 
 
 42 
 
COMPOSITION. 43 
 
 A true painter seems to feel instinctively what is right in a com- 
 position ; and it is this instinctive power of choice that distinguishes 
 the artist from the mere painter. It is well if possible for the artist to 
 surround himself with materials and objects that may be suggestive of 
 effective composition in portraiture. Much that is ordinary will prove 
 serviceable. The boards of a floor, the lines of a rug, the recesses of 
 a room, are often employed by painters with great effect. The oppo- 
 sition of volume to slenderness, slightness to bulk — whatever will give 
 distinction, style, to the work as a production intended to charm the 
 eye by variation of spaces and diversity of form — all this may be 
 regarded as coming legitimately under the head of composition when 
 resorted to with the purpose of emphasizing the individuality before 
 you. 
 
 There are many instances where these resources have been used 
 v/ith the false idea of adding to the merely pictorial interest of the 
 canvas while totally lacking in an intelligent purpose, and, it is need- 
 less to say, resulting in failure. The old Dutch masters were success- 
 ful in this pictorial sense, making their elaborate interiors serve the 
 legitimate purpose of portraiture. They represented burgomasters 
 banqueting or in their council hall, full of vitality, in the exercise of 
 their social or ofificial relations ; and these portraits give an emphatic 
 impression of human beings in their most familiar surroundings. 
 
 These pictures, whether the portraits are of groups or of single 
 figures, show that the composition only tends to emphasize the indi- 
 viduality, and that it is not made of importance by a desire of being 
 needlessly pictorial. This is intelligent composition, and is what we 
 should all seek. When we achieve it men in overcoats will no longer 
 be painted in front of velvet portiferes or seated on inappropriate 
 chairs, and ladies in light raiment will cease to disport themselves in 
 close proximity to stormy aspects of nature. 
 
 The modern portraitist often gives a picturesqueness to his com- 
 position which, besides contributing to the interest of the canvas, adds 
 much to the vividness of the impression. The accessories, including 
 the costume, are the factors mainly employed to accomplish this. The 
 artful way of making use of the lines and ornaments of a dress so as to 
 carry the attention unobtrusively to the head is an accomplishment 
 peculiarly valuable in the composition of a portrait. To do this suc- 
 cessfully requires intelligence and taste, and very often qualities of dis- 
 
44 PORTRAIT AND FIGURE PAINTING. 
 
 tinction and elegance are gained by the right use of just such means. 
 Many lessons of composition in portraiture may be learned by studying 
 the taste and sense of fitness that controlled the artist in his selection 
 and employment of material which might easily mar as well as make a 
 work of this kind. It is a fact that in portraiture, as in all good art, 
 the evidences of a human intelligence expressing itself in a superior 
 way in the presence of a given problem, are what should be looked for 
 and demanded. Those who have followed these chapters will perhaps 
 be impressed by the fact that the painting of a portrait is something 
 more than the mere reproduction of the physical traits of an individual. 
 To make the person live in his very habit as a man, is to do much more 
 than is usually achieved by painters. And now what has been said will 
 perhaps help the student to feel that this art is serious business, and 
 that it behooves him to pursue his studies in a most earnest spirit. 
 When portraiture is thus faithfully practiced by the artist the public 
 will in time be satisfied with nothing less than the best, and when such 
 a time arrives, merely visual resemblances will no longer be regarded 
 as works of high art. Be sure, however, that it will take great per- 
 sistence and character to attain this true standard. Sir Joshua Reyn- 
 olds tells us " those who are resolved to excel must go to their work, 
 willing or unwilling, morning, noon, and night; they will find it to be 
 no play, but very hard labor," and this is the opinion of one who has 
 touched some of the finest notes in the art of portraiture. Someone 
 else has most truly said that " the highest thing that art can do is to 
 set before you the true image of the presence of a noble human 
 being." 
 
 The foundation is thus laid of that splendid achievement, the paint- 
 ing of the human figure. Directness and simplicity are the first as 
 well as the last qualities that a work of art should possess, and the 
 method by which these valuable qualities are secured may vary some- 
 what, but the end sought by individual workers is largely the same 
 where true art is concerned. 
 
PART II. 
 
 CHAPTER I. 
 
 FIGURE PAINTING. 
 
 THE foregoing chapters on portraiture may be regarded as a 
 sort of preparation for this concluding part of the book on the 
 painting of the human figure. 
 
 That the study of the figure forms the basis of art instruction in 
 France, whether the intention of the student be eventually to follow 
 marine, landscape, or any other branch of painting, is sufficient proof 
 of its importance and practical value. What has been so effective in 
 France is likely to influence art ideas everywhere ; for, from a purely 
 technical standpoint, the supremacy of the French school to-day is, 
 virtually, undisputed. 
 
 .The instruction given in these chapters will be as practical as the 
 Avriter can make it, while presupposing always that the worker has a 
 fair knowledge of drawing to begin with. Drawing is so closely allied 
 to painting that they are, indeed, never really separated ; but an 
 acquaintance with the general proportions of the figure, a good 
 sense of light and shade, and an intelligent appreciation of model- 
 ing should be acquired in black and white ; for all this, and much 
 more, will be demanded when pursuing the more complicated problem 
 of color. 
 
 One reason why drawing should be fairly mastered preparatory 
 to painting may be stated with a certain force by quoting the pupil 
 who thought it desirable "to have some place to put the paint." 
 It is indeed most essential to have "some place to put the paint"; 
 and that place should be within the limitation of a well-conditioned 
 drawing. 
 
 If your drawing has to be sought for again and again with color, 
 good color will be sacrificed in the search ; for a beginner is not equal 
 
 45 
 
4^ PORTRAIT AND FIGURE PAINTING. 
 
 to securing both by this method. The first element in figure painting, 
 then, is that of drawing. If the full-length figure is to be the object 
 of your study it should not be smaller in size than the ordinary 
 "Academy " drawing, which is the height of a sheet of papier Ingres or 
 Michelet. 
 
 In painting, however, the larger the size of the study the better is 
 the practice ; for the experience gained in modeling large surfaces 
 is a valuable preparation for portrait work, while the skill acquired in 
 painting on a large scale conduces greatly to one's facility in producing 
 smaller work. The practice, on the contrary, of making " life studies "^ 
 of reduced dimensions becomes an embarrassment when the student 
 finds himself confronted with a subject that demands life-size treat- 
 ment, or, it may be, of heroic scale. Make, then, whenever feasible, 
 your color studies of the size of life, or nearly so. This may be done 
 by painting parts of the figure from time to time, and not always the 
 full length. Take the head and torso, for instance, which may be 
 made of nearly the full proportions of nature on a much smaller 
 canvas than you at first suppose. This practice is much followed 
 by students in the art schools abroad, and is strongly recommended 
 here. 
 
 See to it that your drawing is strongly and simply blocked in its 
 correct relative proportions, no unnecessary time being spent on refine- 
 ment of line ; for it is assumed that the student has already a good 
 knowledge of contour, and, after placing his figure well, that he will be 
 able to define closely the outline when using color. Too close adher- 
 ence to the contour when first laying in the study is likely to detract 
 from the freedom and fullness of touch that is desirable in the early 
 preparation of the work. 
 
 After having made this simple drawing in charcoal on the canvas,, 
 proceed to make it permanent. To do this take your paletts, and, 
 with a little burnt sienna and black, made thin by turpentine, pass 
 over the outline and shadows with an almost equal force of tone. 
 As this dries rapidly, the drawing becomes permanent and ready 
 to receive solid color without danger of obliteration. The broad 
 forms also are thus impressed on the mind by repeating them, as it 
 were ; for this second record of the shadow forms should be done 
 with the model before you, when, more than likely, corrections may be 
 made that will materially improve the first drawing. Whatever con- 
 
FIGURE PAINTING. 47 
 
 tributes to intelligent deliberation in the study of a model is of value, 
 and perhaps no factor so retards progress in art work as that of undue 
 haste. Make a habit of looking long and attentively at the model 
 before committing yourself to the not easily corrected medium 
 of color. 
 
 From the very beginning, the mind should be kept alive to the fact 
 that there is an impression to be recorded by the means of form and 
 color, and that truth to this is as essential as the elements of propor- 
 tion, contour, or light and shade. It may be doubted that this sense 
 of the impression of the object before the student is as generally 
 borne in mind as it should be. The preoccupation to achieve the 
 mere drawing of the model is so great that the fact of representing 
 a certain object in its relative effect is very often lost sight of. 
 
 That this impression may be as simple and direct as possible some 
 attention to the lighting of the model should be given. For purposes 
 of study a high side light is best, and the subject should be so placed 
 that two-thirds of the figure may be illuminated. The remaining part 
 will of course be in shadow, so that this proportion of light and shade 
 will not only be satisfying to the eye, but when so divided the essen- 
 tials of the modeling are sufficiently brought out to enforce clearly the 
 impression of the rotundity and projection the body may possess. 
 Mark well the corporeal volume of the subject before you ; it has not 
 only length and breadth, but thickness as well. Projections nearest 
 the light are the most highly illuminated ; the planes as they recede 
 from the light pass into half tint and shadow. 
 
 All this may be noted before putting brush to canvas ; in fact, this 
 habit of observing closely is to be cultivated at all times, so that even 
 while setting the palette, which is not yet done, the glance may take in 
 the general effect, and the mind may reflect on the most direct method 
 of securing it. 
 
 The list of colors given in a former chapter will be found to be all 
 that are necessary for the work of figure painting. They are few in 
 number, but by their combination a large range of tones may be reached 
 — all, indeed, that the student should burden himself with. 
 
 The palette may be set in the following order if for painting flesh 
 only : At the top edge, to the right of the thumb-hole, place first your 
 white, and let follow around the palette, in regular order — yellow 
 ochre, light red, vermilion, madder lake, cobalt, raw umber, burnt 
 
48 PORTRAIT AND FIGURE PAINTING. 
 
 sienna, bone brown, and ivory black. Just inside of this outer row, mix 
 a pat of each of the pigments with silver white, the quantity to be 
 regulated by the amount of color likely to be needed in the immediate 
 "sitting." The drawing now made and "blocked in" with burnt 
 sienna and black, you are ready to commence the work of the first or 
 preparatory painting. It will now be important to regard with the 
 utmost attention the effect of the model as a spot of color in its rela- 
 tion to whatever may serve as a background. 
 
 It is the general impression of the figure in front of this relieving 
 tone that should now demand your closest scrutiny, and, in fact, 
 occupy all your thought. Try to divest it of all the accidents, so to 
 speak, of lights and darks, and seek only to reproduce in this prepara- 
 tory painting the mean effect of light and shade ; that is, do not 
 at first be diverted by the most intense darks nor by the highest 
 lights, but let the broader effect of the simple general masses of 
 light and dark be given in their relative quantities as they fall on the 
 figure. 
 
 Paint in the background at the same time that you lay in the figure, 
 and be sure that it is in truthful relation to it. These two grand 
 planes of figure and background well established, the work may go on 
 to any degree of completion, in a logical way, if these main facts are 
 preserved. Let each touch be considered in its relation to the back- 
 ground and to the tones immediately surrounding. Do nothing by 
 haphazard. Do not be satisfied by what appears " near enough " to 
 the value sought for. The actual truth of one tone in its relation 
 to another, by a process of mental comparison, is what you must aim 
 to secure. 
 
 It is well understood that this is advice given to those who are 
 learning to paint, not to those who, having gone through much the 
 same training, have perhaps evolved a method for themselves. 
 Whatever stimulates faithful observation and truthful representation 
 contributes largely to the successful practice of a student in painting ; 
 and the habit of close scrutiny is one to be cultivated by him at all 
 times. Look, therefore, in this preparatory work for the keynote of 
 the color, as well as for the masses of light and shade. Very often 
 this first stage of the work determines final success or failure of your 
 study. It is not to be begun lightly, depending on later paintings to 
 correct faults. This is the point of departure, and if there is a slight 
 
FIGURE PAINTING. 49 
 
 breach here it is Hkely to widen as you go on. Keep yourself taithful 
 to the model before you in the first as in all succeeding sittings. Per- 
 haps one of the most prominent facts to strike you in regard to the 
 color aspect of a model, if you are working from the nude, is that the 
 head and hands are richer in tone than the rest of the body. This 
 comes from their exposure to the sun and air, and must in no sense be 
 disregarded in making your study, but are to be truthfully represented 
 in their relation to the rest of the figure. 
 
 If the model be lighted by high side lights the broad plane of light 
 falling on the head and breast leaves the lower. portion of the figure in 
 a comparative half tint. This fact should be noted by graduating the 
 tone from the head to the feet of the figure. It is most essential that 
 the effect of the model in its ensemble should be seized in this first 
 attack, for in doing this you will go on with a confidence that comes 
 with the feeling that you are logically right. Note carefully the value 
 of the shadows as they come in contact with the tone that relieves 
 them, and in the same way paint in the light side of the figure, always 
 bearing in mind that if both light and shadow are truthful in their rela- 
 tion to the background the general mass of the figure will be a well- 
 established fact. 
 
 In this first sitting it will be necessary to preserve only the large 
 constructive lines of the contour. Any closer attention to the outline 
 at present will be likely to interfere with that freedom of touch which 
 is very desirable in the first painting. Do not at this stage of the 
 work endeavor to do more than as above suggested. All secondary 
 considerations — reflected lights, modeling, refinements of line and 
 color — naturally come later. It is a sort of synopsis, a summary of the 
 object before you, that is at first required, and the student must be 
 impressed with this, and force himself to achieve it. 
 
 A sculptor does not immediately curve the mouth or volute the ear 
 in beginning his statue. He blocks in these features in their most 
 elementary forms, and little by little approaches the perfection of their 
 modeling through the different stages of subsequent work. The art 
 of painting may go on as logically ; and particularly in the case of the 
 student, whatever he does he should do with deliberation, and with the 
 earnest desire to acquire a knowledge of natural laws and of his mate- 
 rial that will serve him in all future work. When the work of the first 
 sitting is completed, in which turpentine only has been employed as a 
 
5° PORTRAIT AND FIGURE PAINTING. 
 
 medium, the study may be left to dry for two or three days before 
 work upon it is resumed. If, as already directed, the pupil has laid on 
 the pigment heavily it will be necessary to scrape the most prominent 
 inequalities before painting again. This is readily done when the 
 color is dry, and the surface thus gained is a most agreeable one to 
 receive the color, now mixed with oil, when any medium is required. 
 
CHAPTER II. 
 
 THE PLANES. 
 
 THE figure having been solidly laid in, with turpentine as a 
 medium, it is in a state for additional work and further study ; 
 for in this first painting the student was urged to establish the 
 most obvious impression only of the object before him. If he has 
 been successful in doing this he has now placed on canvas a well- 
 planted figure, good in movement and proportions, truthful to the 
 general coloring of the model, and largely massed in light and shade. 
 No features are as yet indicated beyond the form of the eye cavities 
 and the most essential shadows cast by nose, mouth, and chin. 
 
 Set the palette generously as before, using oil instead of turpentine 
 when a medium is needed, and then "look" — do not paint, but look! 
 Look intelligently. Compare your study at this stage of the work 
 with the model before you, from which, by half closing your eyes, you 
 may eliminate all but the fact so far recorded on canvas — namely, an 
 object of a certain form and color receiving light from a given side or 
 angle — no detailed features discernible, no great variety of modeling, 
 no subtle refinement of outline. If by this comparison your work 
 seems faithful to the impression you receive from the model you may 
 begin the second painting. 
 
 This will be but developing what you have already secured, adding 
 to its variety and interest, while at the same time guarding against 
 belittling the impression. You may add many things and still keep 
 simplicity, carry the modeling on to great perfection and still retain 
 breadth ; but to do this the most faithful observation is demanded. 
 The eye is so sensitive that it responds to the faintest difference in the 
 variation of light and shade, and it requires the merest shadow of dif- 
 ference to establish a new plane on the surface of a body or any other 
 object. The failure on the part of a beginner to be simple and broad 
 in treatment comes mainly, probably, from too greatly emphasizing 
 these transitions. In his desire to secure projection, modeling, he 
 exaggerates accents either of light or dark, and consequently breaks 
 
 51 
 
52 PORTRAIT AND FIGURE PAINTING. 
 
 up into manifold inequalities the calm and quiet surface of a face, a 
 torso, or an arm. 
 
 Do not look at a deep accent by itself nor at a high light by 
 itself ; to do this is misleading. Try to realize the part such accents 
 play in the whole mass of the figure, and you will then see how 
 comparatively slight they are. Of course there is a sahent high 
 light and there is an emphatic accent of dark in every figure or 
 object we look at, but there are very few which are of equal force. 
 After discovering and establishing the highest light and deepest dark 
 the secondary ones must be given with the same simplicity that 
 nature before you suggests. 
 
 Having secured the main effects of outline in combination with 
 that light and shade by which the study exists as a human figure, and 
 not as a pillar or a post, you may begin to block in the features in 
 their proportions — the color of the hair as a mass, and the light and 
 shade which give distinctive form to fingers and toes. In doing this, 
 note the increase of color that marks the extremities. More red, and 
 warmer tones generally, may be found at the ends of the fingers, toes, 
 nose, chin, and throughout the ears ; and by thus familiarizing yourself 
 with the normal and habitual aspects of the human body the more 
 readily you will seize its usual impression. Learn what to look for. 
 Store facts in your mind for future use. 
 
 The purpose in painting from nature should not be to reproduce 
 merely the object before you, but in addition to this to glean facts 
 regarding it that may always serve you in future work. There are 
 general traits common to all human figures whose condition is normal, 
 and there are exceptions to these, incident to the temperament, occupa- 
 tion, or habits of individual figures, that must be particularly noted in 
 studying them with a view to painting. We are at the present stage 
 only to concern ourselves, however, with general laws. 
 
 Every figure, no matter how exceptional its coloring, exists as a 
 series of planes before the eyes of the student. These planes are a 
 sort of elementary modeling. When well established they give body 
 and substance to the object, and effectually prepare it to receive that 
 closer and finer treatment in which the muscles are defined and by 
 which the figure actually lives as a supple and active possibility ; for 
 the planes may be intelligently rendered, and thus far the study may 
 present a corporeal impression ; but until the further step in its inter- 
 
THE PLANES. 53 
 
 pretation is taken, that of articulation and actual modeling, the work 
 will be considered only as in its second state. It is at this stage of 
 planes that we are to carry it on in this chapter. 
 
 You have the relative quantities of light and shade indicated — the 
 darks not of the darkest or the lights of the lightest to be found. 
 Therefore the planes at present are resolved to their simplest effect, a 
 large one of light and another of dark. There are besides these two 
 many projecting or retreating surfaces which cause certain parts of the 
 figure to obtrude themselves or to retire. 
 
 These are the intermediate planes which give volume, thickness, 
 weight, to the figure, and once well understood, your study is on the 
 highroad to a satisfactory termination. Many professional artists fail 
 in securing this important element in the figures they paint, and 
 although they may show great technical dexterity in brushwork and 
 handling, their figures are vitally defective in the eyes of those who 
 know what is essential to intelligent and great work. Look, then, in 
 this second painting on your study for those intermediate planes that 
 lead from the shadow to the light, or which recede from the light 
 to the dark. 
 
 In modeling the torso there will be observed a sort of path of light 
 following the direction of the most projecting surface of the chest and 
 stomach, and continuing with somewhat diminished force down the legs 
 to the feet. The head will naturally receive the strongest light, but 
 because of its darker tone it is not likely to appear as brilliantly lighted 
 as the chest below it. It is assumed that the nude figure is before us, 
 aivi that it is illumined by a high side light. Place the broad plane of 
 light on the chest, and follow with a closely observant eye its gradua- 
 tion down the surface of the body. Take note of its lessening force as 
 it falls below the most highly lighted portion of the figure, for it plays 
 an important part in the modeling. The area of half tint which comes 
 between the light and dark mass of the figure may next be studied. 
 This correctly placed, the body will begin to assume a certain rotundity 
 of form, which the passage of the light into the half tint and then into 
 shadow has developed. The figure is not yet modeled, but it has a 
 certain large element of form that the further introduction of inter- 
 mediate passages will tend to perfect, and which a careful definition of 
 the muscles and articulation of the joints will complete. 
 
 The figure as an ensemble thus closely studied will give a sense of 
 
54 PORTRAIT AND FIGURE PAINTING. 
 
 construction, and convey the impression that this body is built upon a 
 scaffolding, so to speak, of bones and sinews. No agreeableness of 
 color, no softness or grace of line, will compensate for the failure to 
 present this fundamental fact of a corporeal existence, possessing 
 weight and thickness, as well as height ; and this can only be done by 
 faithfully giving the forms- of the light and shadow as they fall on the 
 varying surfaces of the human frame. Regard, then, as most impor- 
 tant this study of construction. Each transition demands its own par- 
 ticular tone, that takes its place by the side of the other. In the face, 
 for instance, the forehead naturally projects somewhat, catching a high 
 light, the shape of this light determined by the form of the protruding 
 brow. The brow retreats to the temples — another plane — requiring 
 for its interpretation quite another tone, and also an intermediate one 
 between the temple and the high light. This is a simple illustration of 
 a study of constructive planes. Without placing with care the tones 
 which are to represent these planes, the forehead will lack character. 
 It will not suggest a skull beneath of a particular conformation, and 
 the result will be a sort of rounded block that might be done by a 
 turner, but not a forehead of some one particular individual, and 
 of no other. 
 
 When a study lacks character it becomes commonplace ; and ' 
 the commonplace is not a stimulating atmosphere in which to grow. 
 That which is personal, individual, in a figure is not only interesting 
 in itself, but is so because it stands for so much fidelity of vision and 
 appreciation of character on the part of the artist. The more this 
 sense is developed, the finer this vision becomes, the more valuaNe 
 .are the results produced by the worker. Study, then, each model 
 as a something entirely new, and you will be always learning fresh 
 and interesting facts concerning the human form. 
 
 Great stress is laid on this matter of observing and rendering the 
 planes of the figure, because no figure deserving the name can well 
 exist without due attention to this important element in its construc- 
 tion, and also because therein lies a large expression of the character- 
 istics of the model before you ; not its individuality, but those forms 
 that stand for its general aspect. And this is what we are to seek in 
 the second painting. 
 
 What we have done for the head to give it bulk and rotundity we 
 must do for every other portion of the figure downward. Study with 
 
THE PLANES. 55 
 
 care the tones that cause the planes to retreat from the cheek bones to 
 the ear ; those that give form to the jaw and chin, so modehng these 
 surfaces that the transition to the throat and neck becomes natural and 
 unforced. Lines in reality do not exist in modeling. The chin and 
 jaw are not outlined against the throat, as some students and even 
 artists apparently seem to think. It is the passage from one mass to 
 another that establishes their form, and a projecting chin or a retreat- 
 ing one, a narrow or a square jaw, is interpreted as such by a faithful 
 observance of the play of light and shade on these varying forms 
 if seen in full face. 
 
 The tone of the flesh as it comes in contact with the background, 
 preserving always the value of the background which relieves it, must 
 be given with the same truth that is demanded for the realization of 
 the other planes. In fact, you are learning to paint ; and as mere 
 painting is a logical performance, and may be learned, you must use all 
 the hints and suggestions that nature and experience can give to 
 accomplish it. To produce a work of art is a more complex matter, 
 and does not concern us at present. Our business just now is to make 
 a good life study. If you learn this thoroughly well, and the spirit of 
 art is in you, it will surely make itself felt. 
 
 If you will now let your eye follow the shaded side of the model as 
 it stands detached from the background, you will be able to detect a 
 great variety in the force of the shadow as it sometimes loses itself in 
 the tone of the ground that relieves it, and again becomes almost clear- 
 cut against the same, owing to some prominence of form that catches 
 the light. This variety may be given by studying the actual tone of 
 the flesh as it comes in contact with the background ; in reality, as 
 before said, by a faithful observance of the planes. The light side of 
 the figure is subject to the same law of varying value against its reliev- 
 ing tone ; the gradations, however, being less marked, it is important 
 that the mind and the eye be alert to record the difference. 
 
 In all this second painting the worker must not lose sight of the 
 fact that the light as it falls upon the model is concentrated mainly on 
 the head and breast, and by comparison the lower portion of the figure 
 is less strongly illumined. This effect should be frankly marked at this 
 stage of the work and adhered to throughout ; for in the preoccupa- 
 tion of mind that is natural in studying the details later on one is apt 
 to paint an arm or a leg for itself, and to forget that as a part of the 
 
56 PORTRAIT AND FIGURE PAINTING. 
 
 whole it must be completed in the relative tone that portion bears to 
 the rest of the figure. 
 
 If the truthful relation of these parts is well established in the 
 earlier stages of the study, the danger of losing sight of the effect as a 
 whole becomes less when finishing. Accustom the eye to take in the 
 object before it in its entirety when making a study. Do not allow 
 yourself to be interested in one part more than in another because of 
 any charm of line or color some portion of the figure may possess for 
 you, if in so doing you are tempted to give it undue importance. By 
 first blocking in your study in its broadest effect of light and shade, 
 and by next faithfully stating its various planes, so that the body 
 assumes bulk and weight, you will be well prepared to go on logically ; 
 but be sure that these two first paintings will influence the termination 
 of the study more than you may at first imagine. 
 
 A feeble beginning is most undesirable — it is, indeed, no beginning ; 
 and until the work is brought into a state of solid and corporeal paint- 
 ing it will never be rightly begun. A sculptor should be able to block 
 in a figure from a well-considered study at this stage of the work ; he 
 should find the passages leading from one salient form to the other so 
 firmly indicated that the broad and general sense of the modeling 
 would be strongly enough suggested to be made use of by him in con- 
 structing his figure in clay. Think of the early preparation in this 
 light, and you will perhaps better understand what is necessary to 
 realize in your work when commencing a figure. This thoroughness 
 is one of the elements that is so marked in the work of the great men 
 of old ; this is what gives virility to the best work to-day. 
 
CHAPTER III. 
 
 MODELING AND CONSTRUCTION. 
 
 THE fact that the modeling is as important an element in figure 
 painting as it is in sculpture may not hitherto have, been suffi- 
 ciently impressed on the student. It is, however, a fact, and 
 one that should not be lost sight of. 
 
 Sculpture is more tangible, it is true. You may pass your hand 
 over the muscles of an arm, and feel the various undulations of form, 
 whether delicate or vigorous. But sight is as sensitive as touch ; per- 
 haps, indeed, more acute. The eye rests on painted form, and demands 
 as truthful a delineation of apparent molded surface as that produced 
 by sculpture. These various surfaces, which describe the position of 
 the muscles, tell where they merge one into the other, where fat 
 abounds or bones lie hidden, is known to the painter by the general 
 term of " modeling." In a large way the planes are a preparation for 
 this refinement of form. They give the body and substance in the 
 rough, as it were, and when well established the modeling follows 
 naturally. Where the planes express broad passages of light the 
 intermediate tones succeed these and definitely determine the position 
 of the muscles. The student should endeavor to achieve this without 
 undue loss of breadth in the general impression. This may be done 
 by observing carefully the relative force of these intermediate tones — 
 in other words, by studying closely the values of these half tones, 
 emphasizing the darkest darks so that they possess their true force, no 
 greater, no less, than that seen in the model. The student is urged 
 always in making a study to try for the utmost truth of statement. 
 In learning to paint you are not supposed to create a work of art, you 
 are learning to use your eyes and handle your material. The produc- 
 tion of a work of art is a more complex matter, and at present does not 
 really concern us. The young man at college who would be an author 
 does not learn fiction ; he studies the rules of verbal expression, and if 
 possessed of invention he will create later. 
 
 These chapters are practical suggestions which may be applied to 
 
 57 
 
58 PORTRAIT AND FIGURE PAINTING. 
 
 one's self and taught to others — they at no time profess to teach art, 
 but are believed to contain many useful hints that may be followed 
 safely in both drawing and painting. 
 
 Now this subject of modeling is a vital one when the human figure 
 is the object of study. The eye may be a guide to fairly good propor- 
 tions, a true feeling for color may give reality to the painting of the 
 flesh; but if the interior modeling be defective, if muscles are out of 
 place, and the passages from one plane to another falsely presented, 
 the figure will not exist as a corporeal object — it will be flat, lifeless, 
 and unreal. Look, then, after having blocked in the broad planes, for 
 these varieties of surface, which indicate the superficial forms of a wellr 
 constructed human being. 
 
 A figure may be well modeled although untrue in color ; still at 
 this stage of your work do not neglect, while modeling and construct- 
 ing, to keep always in mind the color impression of the subject before 
 you. Attention has already been called to the increase of reds in the 
 extremities and in certain parts of the body. The ears, the finger 
 tips, the knees, the cheeks, the lips — all reveal an accession of reds 
 or pink that must be expressed without in any way destroying the 
 sense of surface peculiar to the form in which they are found. 
 
 In proceeding with the study, already well prepared, lay in the half 
 tones that intervene between broad darks and lights. Study the various 
 forms they take, and the relative force of the darks. These darks 
 might be mentally numbered, according to their intensity, number one 
 standing for the darkest, and each succeeding lighter tone designated 
 as two, three, etc. It is by preserving the just relation of thes,e 
 adjacent tones that the figure will become modeled, the planes of 
 the nose will merge into those of the cheek, and the cheek in turn will 
 round into the throat, the throat into the shoulders and chest, and 
 so on. It is at this stage of work on the figure that perhaps a knowl- 
 edge of anatomy is most needed. 
 
 The numerous forms, suggestive only, are full of meaning when the 
 muscles beneath are known, and the effect on them of the various 
 movements thoroughly understood. Up to this stage we have been 
 modeling only apparent forms ; but construction now comes in for 
 a large share of your attention. 
 
 Construction may perhaps be defined as differing from modeling 
 by saying that where modeling expresses the substance or corporeal 
 
MODELING AND CONSTRUCTION. 59 
 
 aspect of the figure construction reveals the salient points which knit 
 the body together as a whole. The points where muscles cleave to the 
 bone, or fold the one over another, disappearing at the contour by the 
 projection of one more prominent, must all be closely observed and 
 recorded truthfullj^ or your figure will fail to exist as a normal and 
 well-constructed being. 
 
 The worker will do well to compare his study from time to time 
 with the plates of some simple treatise on anatomy. By so doing he 
 will be able readily to account for the external lines of his figure, and 
 also familiarize himself with those muscles which give certain results 
 of light and shade in the interior modeling. The vigorous set of the 
 head on the throat, of the neck to the chest, of the splendid rooting of 
 the arms to the shoulders, are all matters of construction over and 
 above the modeling, the mere presentation of the rotundity of these 
 parts. It is this same demand for construction which will confront 
 you throughout the entire figure. The knitting of the legs to the 
 torso, the sturdy sinuosity of the nether limbs, the muscles that strap 
 knee-cap to knee and foot to ankle, are all essential to the representa- 
 tion of a well-conditioned, mobile human being. 
 
 When a teacher or student can express these things faithfully 
 because he knows he is right, because he knows they are there, he will 
 be able to do so quietly, calmly, and without that undue emphasis into 
 which a lack of knowledge sometimes betrays the ignorant. To do all 
 simply, with the broad play of light and shade that nature before you 
 suggests, is truly to construct your figure. Many fail in this, and it is 
 a failure that proclaims the feeble workman. The student will find 
 that with a keen eye for the essential points in the construction of the 
 figure a strong result may be brought about logically. Building on 
 the foundation of the well-observed planes spoken of in the last 
 chapter, these intermediate notes, these accents which describe the 
 projection of the wrist, the protuberance of the elbow, the vanishing 
 out of sight or the merging into prominence of this or another muscle, 
 is but the natural sequence of an intelligent scrutiny founded on a 
 knowledge of these interior forms. 
 
 Great stress is laid on the elements under discussion in the painting 
 of the figure, for although many fail in obtaining them, many may 
 succeed by faithful study. 
 
CHAPTER IV. 
 
 COLOR. 
 
 THE colors at hand as arranged upon your palettes are susceptible 
 to the greatest variety of combination ; but, to be practical, the 
 mean, general, underlying tone is all that should at first receive 
 your attention. Is the object before you fair or dark, ruddy or pallid? 
 Look for the relative effect against the background, and endeavor to 
 establish this with a full brush, frankly laid on. Do not try for a 
 quick result by thin and rapid painting, for this is likely to mislead 
 you, as the forms will thus be loosely indicated, and no solid under- 
 painting, which is most desirable, will be attained. Deliberation is 
 to be cultivated, while haste should be eschewed as a presumptuous 
 sin. Only masters have such control of mind and of material that 
 they may state rapidly and well the natural facts before them ; and 
 they only do so by virtue of much antecedent work done deliberately 
 and with intelligent application. 
 
 These chapters are especially for students. 
 
 Look at the model, and strive to divest it of its accidental lights 
 and shadows, all that breaks it into too great variety, for the first stage 
 of your work in color. Avoid highest lights and deepest shadows. 
 Look below and above them — that is to say, lay in the shadows some- 
 what lighter than they are, the light mass rather lower in tone than it 
 appears. This will give you a reserved tone, upon which, by super- 
 posing lighter or darker tones, your figure will assume form and 
 interior modeling. If this main, underlying tone is truthfully pre- 
 sented, the high light will, when placed, represent the apex of a muscle 
 or of a bone, so to speak, and follow naturally and logically in the 
 course of subsequent observation and painting. 
 
 In making a study from life try to be as faithful as possible to the 
 color before you. An arbitrary flesh color is no more true in painting 
 flesh than is one arbitrary green in painting trees. No two individuals 
 are identical in color. It is the business of the student to record indi- 
 vidual, not merely generic, facts in regard to color. Fidelity in obser- 
 
 60 
 
COLOR. 6 1 
 
 vation is a large part of one's business in studying art, and if the visual 
 senses are not constantly on the alert merely conventional or nominal 
 color will be the result at this stage of your work. 
 
 Now a few words concerning the actual manipulation of the pig- 
 ments. Do not tire your colors by overmixing, but in making your 
 tones use a light touch, for physical force is not necessary. Lightly 
 drag one color over and into the other ; so that after producing the 
 tone you are seeking there may be seen separate strands or threads, 
 as it were, of individual hues still unworked, and living in the midst of 
 the tint produced. This method will give a vibration and life to your 
 color that many fail to secure through an unsensitive method of mixing 
 their tones. In setting the palette do not change from day to day the 
 order of arrangement, for the mind should not be disturbed by looking 
 for the position of any color one may need. The regular rotation 
 from white to black, as given in an earlier chapter, will, if habitually 
 used, greatly facilitate the handling of your tones. Your brush will 
 instinctively seek the pigment required, much as the fingers in piano 
 playing touch the right keys without the glance following them. With 
 the model before you, look for the gradation of color from head to 
 feet. 
 
 The general tonal effect will be that of an object lighter above 
 than below, and this should be indicated as well as the actual color 
 impression : it has, indeed, much to do with it, for as the parts of 
 the body recede from the light, they will become grayer and less 
 colorful. Bear this in mind, and cultivate a largeness of vision when 
 recording the first color statement in a study from life. Having once 
 secured this by the most direct and truthful means, you may go on 
 with the work in detail. 
 
 Look for the color interest of eyes, nose, and mouth. Observe their 
 relative force as spots in the mass of the face. Give emphasis only 
 where emphasis is needed, and seek out with the closest attention the 
 variations of accent and of color that these features reveal. There 
 are eyes blue as turquoises, and others like dark gleaming gems, pure 
 in color as some precious stones, but softened withal by lashes and 
 protecting lids. This gives them a color note of additional charm at 
 times, from the very fact of their peculiar setting. Study this. Notice 
 how sometimes the cheek gains a radiance or a pallor from the glint 
 that seems to sparkle in the eye. Certainly the eye at times seems a 
 
62 PORTRAIT AND FIGURE PAINTING. 
 
 keynote to the color of the head. The mouth, too, is of much impor- 
 tance. Lips pallid or blood red, or the many tones between, are to be 
 studied as factors in the complexion of the head as a whole. The 
 nostril and round about it will be found to have a slight access of color, 
 and ears often palpitate with lovely pinks and reds. 
 
 It is enough, perhaps, to call the attention to these normal effects 
 of color. Many models will vary from them — some more, some less — 
 but the student should be alive to natural facts, for he will, then be 
 more likely to present the exceptions when they are found to exist. 
 
 In order to obtain a satisfactory color result, the student must 
 avoid "starving" the palette. No tone can be made that will sustain 
 its character of surface quality, representing a given plane of a given 
 color, that is laid on thinly. It will eventually sink into the canvas or 
 into the underlying thin tone, and ultimately develop into a mere stain. 
 Beware of thus staining your canvas. It is not painting ; nor will such 
 a practice ever make you a painter. Look at the figure with a com- 
 prehensive vision, and try to state to yourself mentally its dominant 
 color scheme. If your tendency is to be cold and gray when you 
 attempt the coloring of a figure before you, guard against this by 
 giving your attention to those parts which you believe, from physical 
 knowledge, are likely to contain the most vivid and elementary color 
 notes. These you will generally find in the lips, ears, nostrils, and 
 cheeks when studying the head ; and at the elbows, finger tips, knees,, 
 and toes in painting the body. If these color incidents are made too^ 
 gray the subsequent result will be cold and colorless, lacking all vital- 
 ity. Cultivate a love for the life-like, growing tints of animate flesh,, 
 and your sensitiveness to their charm will in time prevent your being 
 satisfied with less in your work than you know to exist in the model. 
 It is very true that many appreciate these beauties, and only fail to 
 secure them from lack of experience in the mixing of tones. This- 
 subject was treated of in a previous chapter. 
 
 A light hand and a strong will must go together. The lady who sO' 
 admired the beautiful coloring of the English painter Turner, asking 
 him with what he mixed his colors, and receiving for reply, " Brains, 
 madam ! " was well answered. One of the most delicate points in the 
 painting of the figure is to fix those first facts of color that will set the- 
 key and be felt throughout the work in hand. To do this satisfactorily 
 you must have a cool head, complete self-command, and concentration* 
 
COLOR. 63 
 
 of thought. You should seek to penetrate the very life blood that 
 courses through the veins and dyes thie various surfaces of the subject 
 you are painting. Notice how comparatively delicate and pallid cer- 
 tain protected parts of the flesh appear, while others glow with surface 
 color, or show rugged and bronzed by exposure to the sun and 
 weather. This difference should be keenly observed and truthfully 
 recorded. The degree of your fidelity in this respect will be the meas- 
 ure of "brains" you have put into the work. Indeed, after one has 
 become familiar with the handling of the paints and brushes, it is this 
 faithfulness of vision that demands cultivation. Devote yourself to 
 the study, the beauty, of tone. Endeavor to see it in its simplicity. 
 With the knowledge you have already acquired of the resources of the 
 palette, set to work with the pigments at your disposal to represent 
 those half-hidden tints which, in combination, will produce the tone 
 you desire. It can be done. They are there, and "brains" will 
 reveal them. 
 
 Always try to obtain the requisite tone by the employment of the 
 fewest colors possible in its composition. If more are used than are 
 really necessary, the purity of the tone and the quality of vibration 
 will be lost. The needless colors will destroy the perfect operation of 
 the essential ones, and will tend to deaden and flatten the tone 
 sought for. 
 
 For mere practice one may try to reproduce a certain color effect 
 with the smallest number of pigments possible. If you nearly 
 approach it by using several, try if fewer will do, and in every case be 
 careful to employ the right ones. Some tube colors possess in them- 
 selves the quality that may be only attained by a combination of 
 several others. Choose, then, those which will most readily serve the 
 purpose. An increased vitality and freshness will be the reward of 
 this method, provided always that the whole range of your color box is 
 kept sufficiently restricted. There is a great variety of tints manu- 
 factured, many of which the writer would not recommend, while he 
 believes that all that are absolutely neccessary for effective work may 
 be found in the list already given in a former chapter, which is very 
 comprehensive, embracing all that are necessary for general use, and 
 it is unadvisable for a student to lay in a stock of numerous colors 
 which are absolutely useless to him and only serve to increase his 
 difficulties. 
 
CHAPTER V. 
 
 COMPOSITION, 
 
 COMPOSITION in portraiture has been enlarged upon in some 
 previous articles, but there is still to be considered composition 
 in a more extended field — that of figure painting. 
 
 This subject is a large one, for it covers almost the whole range of 
 art. All your preparation has doubtless, in your mind's eye, had this 
 end in view. You have probably thought that to compose one or 
 more figures in a picture would be to create — that it would be original 
 work. But let us look at this question of composition a little more 
 closely. To place one or more figures on a canvas is not much of an 
 achievement unless there be a desire at the back of it really to express 
 something. The mere presentation in form and color of a figure or 
 of any number of figures in a given space is not necessarily to produce 
 a composition. 
 
 Early art, and even more recent, modern art, had rules which 
 seemed to guide the painters. We hear of the pyramidal, the oblong, 
 and various other terms, denoting different styles of composition — 
 "arrangement" would be the better definition. Now "arrangements" 
 may be skillful, even scholarly, but they can never stand for composi- 
 tions in the highest sense. 
 
 Avoid the commonplace. Before beginning a subject have no 
 other thought than that of presenting it forcibly and directly in all 
 its essential significance. Do not allow petty facts to obtrude them- 
 selves, as some weak painters do, for the opportunity they may offer 
 of displaying " clever bits of painting." Compositions are not con- 
 ceived to show dexterity, thence to excite wonder, but rather with a 
 view to expressing emotion, or to touch^the imagination. It is neces- 
 sary to feel deeply and to report truly : be sure not to emphasize too 
 obviously unimportant accessories. Composition is a form of expres- 
 sion : a subject should not be chosen to exhibit the painter, but to 
 present the idea. A large nature will sacrifice everything that may 
 weaken the force of such expression, while a small nature will smother 
 
 64 
 
COMPOSITION. 65 
 
 the idea with an ostentatious cleverness of technique. Such a method 
 offends every law of noble composition : it is rather the sign-manual 
 of vulgar talent than of genius. 
 
 Taste and judgment, the expression of a really artistic tempera- 
 ment, mark all works which come truly from within. Those that are 
 produced and carried on from without are likely to be replete with 
 superficialities. The inferior artist prefers rather applause for tech- 
 nical industry than appreciation of powers of mind : indeed, we may 
 simply call him an inferior artist ; for if he possessed great powers of 
 mind he would be incapable of " robbing Peter to pay Paul." 
 
 One cannot but feel how utterly impossible it would be for an ear- 
 nest, vehement painter, full of his subject, to give ignoble attention to 
 unnecessary things. The turn of a button, the definition of an orna- 
 ment, will receive from him no more elaboration than is justly its due 
 in the whole scheme and conception of the work in hand. Fascinating 
 surfaces, felicity of coloring, are only fascinating and felicitous now as 
 they may conduce to the emphasis of the impression he would convey. 
 It is just here in a composition that a man shows his judgment and 
 force of will. A thing charming in itself becomes offensive when out 
 of place : the accompaniments of gayety and pleasure turn sinister 
 when tragedy is the theme. They may be there, but in the hands of a 
 master their lighter features will only contribute in some just propor- 
 tion to the general aspect of dread the scene portrays. Composition 
 in this sense becomes creation ; it emanates from the emotions, from 
 nature — it is not " arrangement," it is life. Take, for example, some 
 stirring scene such as GerCme might choose to paint — antecedent dis- 
 cussion, high words, blows, crime ! Prevalent disorder, in no matter 
 how fair environment, will be visible — the very course the turbulence 
 has taken may be traced. Everything is logical, because intelligence, 
 mental power, directs this graphic presentation. Nothing to weaken, 
 everything to enforce the impression that unloosed passions and actual 
 physical strife within a given area have held temporary sway. Dis- 
 order, haste, frail things fractured, and a general confusion where 
 formality reigned before — these are some of the conditions a well-con- 
 ceived drama of this character is likely to present. In a composition 
 thus carried out you will find that only the fitting, the appropriate, 
 the telling, have been admitted. Gdrome has been greatly admired for 
 his superior drawing and conscientious workmanship : his canvases 
 
'66 PORTRAIT AND FIGURE PAINTING. 
 
 reveal much more than this — they tell of an intellectual personality 
 behind the brush which can conceive and present a picturesque situa- 
 tion or historical incident in a logical and faithful manner. His com- 
 positions are more than scholarly by virtue of his human grasp of both 
 antecedent and subsequent conditions. This is the mental attitude 
 that should characterize one on undertaking a composition. It is not 
 only scholarship but instinct that is needed. A power of choice, which 
 is the possession of the true artist, this should be unerring. In many 
 masters it seems to be. 
 
 Nothing should exist in the whole field of the subject depicted, the 
 removal of which would not injure the balance and weaken the force 
 of the presentation ; and it may be said with equal truth that no per- 
 fect composition may be added to, without suffering a like loss. 
 
 In a certain sense, composition is the goal to which all one's efforts 
 in the study of art are directed ; drawing and painting without com- 
 position would be practically useless, for if one has the persistence to 
 carry life studies to an advanced point of proficiency it must be 
 because he has finally something to say. Not merely for the purpose 
 of telling some trifling story is it likely that all these exhaustive 
 studies have been made : severe and intelligent work, on the con- 
 trary, prepares the mind for something higher than trifles. Indeed, 
 I have been struck by the fact that triviality of matter is frequently 
 accompanied by feeble and inadequate technique : robust thought 
 must have forceful expression ; and no strong painter who becomes 
 imbued with an idea will be able to express it satisfactorily on the 
 canvas by merely the means of a well-" arranged" tableau. Right 
 feeling revolts against staginess, however clever : judgment, taste, 
 and feeling are essential in making a good composition. If the subject 
 be a portrait, one should decide from the physical characteristics of the 
 person to be represented how the light shall fall in order to give the 
 dominant charm or salient feature of the sitter to advantage. Great 
 mistakes in this regard are sometimes made in portraiture, when that 
 which should be hidden is revealed, and that which should be empha- 
 sized made unimportant. 
 
 An intelligent balance of light and shade will always secure a char- 
 acteristic revelation of a personality ; while on the artistic disposition 
 of the figure in the area of the canvas, or, in other words, on its com- 
 position, rests its claims to be called a work of art. Try to place each 
 
COMPOSITION. 67 
 
 particular individual in his habitual surroundings, giving the impres- 
 sion of the person as belonging there and not elsewhere. There are 
 portraits existent showing the sitter distinctly having his portrait 
 painted, and evidently wishing he were anywhere but where he is. 
 This is hardly successful composition, for more reasons than one. 
 
 In figure subjects dealing with themes of daily life and peasant toil, 
 the French painter Millet shows a sense of composition that is masterly. 
 Whatever scene he presents, all the conditions of its immediate sur- 
 roundings are thoroughly felt by him, and the antecedent action lead- 
 ing up to the moment chosen by the artist for his composition is most 
 logically indicated by him. The figures are instinctively in the right 
 place — where the action, incident, or fact is portrayed. No adding to 
 this area nor taking from it may be done without injuring the perfect 
 setting of the scene. There is nothing useless in it, nothing introduced 
 merely to "fill up" — a practice which Millet held in contempt. His 
 compositions are conceived with the utmost fidelity to the character of 
 the incident he would portray. Physical laws are logically respected — 
 a burden is a load under which its bearer totters, weighed down by 
 just so much — not more, not less. It is for the unintelligent to exceed 
 or understate such indications of physical effort. Millet's judgment is 
 always sound. This knowledge, which should be a part of a painter's 
 equipment, is not always employed with this rare judgment. When it 
 is so employed it stands for right feeling, a power of deduction, a sen- 
 sitiveness to nature's laws that marks its possessor as a man of distinc- 
 tion. Only a strong purpose can strip a graphic scene of unnecessary 
 detail and reveal it in its simplicity. Composition is the presenta- 
 tion of a conception ; thus if a thing is poorly conceived the presenta- 
 tion will be feeble. The remark often made that certain " bits " in a 
 picture are very cleverly handled, really condemns the work in the 
 highest sense ; for a charmingly turned wrist, an attractive piece of 
 still life, if noted as such in a composition of importance, where these 
 things are mere accessories, suggest that the work as a whole is a 
 failure. An artist well warmed to his subject will give these incidental 
 things the significant touch they demand as contributions to the main 
 interest of the work, but he will not pause to elaborate objects which, 
 if developed out of a just proportion to their importance, would only 
 tend to divert attention from the purpose in hand, which is to present 
 a theme forcibly. It is trivial for a painter to insist on the burnish of 
 
68 PORTRAIT AND FIGURE PAINTING. 
 
 silver, the flash of a diamond, or on any other unimportant object that 
 exists in the area of the scene he is picturing, merely because he is 
 particularly skillful in the portrayal of. such accessories. The fact that 
 he does so convicts him of superficiality, and a lack of taste, judgment, 
 and feeling. 
 
 We have now been over a large field in the practical study of 
 painting. Portrait and figure painting have been seriously discussed, 
 and have received a large share of attention. The writer asks the 
 student to bear in mind that he has at no time desired to be didactic, 
 but has only been moved by the wish to advance suggestions that will 
 tend to simplify and give directness to the study of painting. It is 
 his earnest hope that such hints may be made fruitful of much good. 
 If what has been written on these subjects tends to stimulate a desire 
 in the reader to devote himself more closely to the study of nature 
 in its relation to art, the purpose of these chapters will have been 
 accomplished. 
 
 THE END.