International studio (31.1907)

Philip A. Laszlo, Portrait Painter

position of his sitters Laszlo often has an oppor-
tunity of painting his subjects in the costume
belonging to some particular office or rank.
Robes of this sort raise a picture above mere
fashion, efface the indications of date, and add
their own special contribution to the picturesque
effect. The portrait of the German Ambassador
to Japan is an interesting picture in this respect.
As a painter of men’s portraits Laszlo is no less
successful than as a painter of beautiful women ;
indeed he often has an opportunity here of being
the more impressive, because he has not mere ex-
ternal form and charm to convey, but mind and
character. He devotes to drapery only so much
attention as is absolutely necessary, and can there-
fore bestow greater study on the face. A shining
instance of this is afforded by the portrait of Count
Chotek, the late father-in-law of the heir to the
thrones of Austria and Hungary. The clean-shaven
face with barely-indicated
whiskers represents a dis-
tinctly Austrian type; the
wise and kindly eyes, the
firmly-closed mouth with
narrow, finely-chiselled
upper lip, show energy and
good nature. The pose of
the hands is full of action;
we can see them explaining
and gesticulating. Another
notable example is the
portrait of the late Duke
of Cambridge ; it was no
small achievement to catch
such a speaking likeness
of features thus blurred
by old age. The por-
trait of the Duke of Teck
is picturesquely conceived;
the sitter wears a uniform
with his military cloak
thrown over it. A portrait
of Lord Stanley of Alderley,
executed with much loving
care, is noble and impres-
sive. The portrait of the
Austro-Hungarian Ambas-
sador in London, Count
Mensdorff, is a speaking
likeness of the sitter’s
very agreeable and manly
presence. The portrait of
the King of Portugal is a
work full of power and sim-
260

plicity; here Laszlo has denied himself all external
advantages, representing the King in a plain dark
coat The artist has quite recently been commis-
sioned to paint the portrait of an Indian rajah, and
it is a particularly attractive face which he here
places upon his canvas; the brownish-yellow com-
plexion is especially interesting, with great calm
eyes looking out from beneath their heavy lids,
a broad flattened nose, red lips, while wound
round the head is a coloured Indian cloth, which
partially covers the brow and ears and falls on
the shoulders.
I have spoken above of landmarks in Laszlo’s
career; the portrait of Monsignor Count Peter
Vay, well known in England, is one such land-
mark, and in it the artist’s latest period has
attained high-water mark. A striking head, a
proud and noble figure, has here rivetted the
eye of the painter. The fine aristocratic features,


CHILDREN OF MR VAN HONERT

BY P.-A. LASZL6