DOI Heft:
Nr. 161 (July, 1910)
DOI Artikel:Mechlin, Leila: The art of Cecilia Beaux
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.19867#0024
The Art of Cecilia Beaux
no apologies are offered.
On this account, perhaps,
it lacks the appeal which
weaker work possesses,
holding aloof, as it were,
and claiming not affection
but homage.
Miss Beaux, obviously,
uses a broad, full brush and
allows her color to flow free-
ly, but her manner is essen-
tially sculpturesque. Un-
necessary details she over-
looks and big facts she
presents boldly. Each
plane is indicated with a
certain abruptness which
might well be supposed to
set at variance the ameni-
ties of grace but which in
reality yields nothing.
Interest is arrested on the
instant, after which atten-
tion is held in a covert
fashion. The utterance is
at the same time brusque
and suave, the treatment
of the accessories compen-
sating for the manner in
which the leading motive
is presented.
It has been said that
those Miss Beaux portrays
she dignifies, imparting to
them that ineffable air of
distinction which is the re-
ward of culture and the
gift of heritage, and it is
true that into her portraits
creeps an intellectual qual-
ity which is the reflex of
her own personality, but it
is quite certain that she
does not attribute to her sit-
ters characteristics which
are not primarily their own.
\rn-rm.-i) iv,, cmi She seeks, one may believe,
MOTHER WT> SON nY CECILIA HF.AUX ' ' '
the best, but at all limes
truth. It will be admitted
that she invariably satisfies herself. On the con- that sometimes Miss Beaux's portraits give too
trary, there arc, probably, few who at times much the impression of arrested motion and that
commit greater errors, but her faults are big faults the people she pictures are apt to be reflective
and declare themselves bravely. There is nothing rather than attentive, but even so they have mark-
little or timid about her work, no hostage is asked, cd individuality and convincing force. They are
no apologies are offered.
On this account, perhaps,
it lacks the appeal which
weaker work possesses,
holding aloof, as it were,
and claiming not affection
but homage.
Miss Beaux, obviously,
uses a broad, full brush and
allows her color to flow free-
ly, but her manner is essen-
tially sculpturesque. Un-
necessary details she over-
looks and big facts she
presents boldly. Each
plane is indicated with a
certain abruptness which
might well be supposed to
set at variance the ameni-
ties of grace but which in
reality yields nothing.
Interest is arrested on the
instant, after which atten-
tion is held in a covert
fashion. The utterance is
at the same time brusque
and suave, the treatment
of the accessories compen-
sating for the manner in
which the leading motive
is presented.
It has been said that
those Miss Beaux portrays
she dignifies, imparting to
them that ineffable air of
distinction which is the re-
ward of culture and the
gift of heritage, and it is
true that into her portraits
creeps an intellectual qual-
ity which is the reflex of
her own personality, but it
is quite certain that she
does not attribute to her sit-
ters characteristics which
are not primarily their own.
\rn-rm.-i) iv,, cmi She seeks, one may believe,
MOTHER WT> SON nY CECILIA HF.AUX ' ' '
the best, but at all limes
truth. It will be admitted
that she invariably satisfies herself. On the con- that sometimes Miss Beaux's portraits give too
trary, there arc, probably, few who at times much the impression of arrested motion and that
commit greater errors, but her faults are big faults the people she pictures are apt to be reflective
and declare themselves bravely. There is nothing rather than attentive, but even so they have mark-
little or timid about her work, no hostage is asked, cd individuality and convincing force. They are