mceRnAcioriAL
LADY OF THE LAKE PROPERTY OF MRS. SLOSSON
giving room for the large full sleeve of the left arm with unfaltering precision. The painting of the
and enabling the body to bend gracefully leaning laces and other accessories baffle one in their flat,
the right arm upon books arranged formally on a stencil-like accuracy. And, apparently, they were
table. In fact there is plenty of proof as to the done at one go, as nowhere is there evidence of
methods of these "limners." In the portraits of overpainting. That the "limners" were capable
women the color of the backgrounds, the black of of close observation is revealed in the likenesses
the garments and the flesh tones of the shoulders which speak eloquently of the personalities of the
are alike. If the subject is young a moss rose or a sitters, although due to the similarity of pose and
passion flower is stuck between the stiff fingers of accessories the works may at first glance strike the
her ready-made hand, and if she be an ancient observer as having little individuality. The por-
dame or one of middle life a bible or a pair of traits of Rufus Fuller, Esq., and his wife, Eliza-
"specs" takes the place of the flower. beth Drake Fuller, are truly notable renderings of
In the delightful portrait of Phoebe Preston individual types.
Haviland, who chose to be immortalized minus the Nearby hung portraits of John Mills and his
elaborate lace cap so dear to her contemporaries, wife, executed by a less skilled hand but giving
one notes that the line of the neck does not con- evidence, nevertheless, of much sincerity and
nect at all properly with the line of the shoulders, careful painting. These are very real character
and in other examples this same peculiar lack of renderings, obviously painted entirely from life,
relation is evident. In the portrait of Florilla The painter applied his glue to the canvas a bit
Mills Raymond the manner of painting the hands too heavily and, due to that, the surfaces have
and caps with absolutely no relation to the black become so irregular that a camera cannot properly
surroundings is particularly noticeable. However, reproduce the portraits.
one needs must marvel at the skill, within his own Two interesting and unique works included in
limitations, evinced by this curious breed of the exhibition were the water colors, "The Lady
painter. His was an all efficient technique applied of the Lake" and "Pomona." In order to fully
four fifty-eight
MARCH 1925
LADY OF THE LAKE PROPERTY OF MRS. SLOSSON
giving room for the large full sleeve of the left arm with unfaltering precision. The painting of the
and enabling the body to bend gracefully leaning laces and other accessories baffle one in their flat,
the right arm upon books arranged formally on a stencil-like accuracy. And, apparently, they were
table. In fact there is plenty of proof as to the done at one go, as nowhere is there evidence of
methods of these "limners." In the portraits of overpainting. That the "limners" were capable
women the color of the backgrounds, the black of of close observation is revealed in the likenesses
the garments and the flesh tones of the shoulders which speak eloquently of the personalities of the
are alike. If the subject is young a moss rose or a sitters, although due to the similarity of pose and
passion flower is stuck between the stiff fingers of accessories the works may at first glance strike the
her ready-made hand, and if she be an ancient observer as having little individuality. The por-
dame or one of middle life a bible or a pair of traits of Rufus Fuller, Esq., and his wife, Eliza-
"specs" takes the place of the flower. beth Drake Fuller, are truly notable renderings of
In the delightful portrait of Phoebe Preston individual types.
Haviland, who chose to be immortalized minus the Nearby hung portraits of John Mills and his
elaborate lace cap so dear to her contemporaries, wife, executed by a less skilled hand but giving
one notes that the line of the neck does not con- evidence, nevertheless, of much sincerity and
nect at all properly with the line of the shoulders, careful painting. These are very real character
and in other examples this same peculiar lack of renderings, obviously painted entirely from life,
relation is evident. In the portrait of Florilla The painter applied his glue to the canvas a bit
Mills Raymond the manner of painting the hands too heavily and, due to that, the surfaces have
and caps with absolutely no relation to the black become so irregular that a camera cannot properly
surroundings is particularly noticeable. However, reproduce the portraits.
one needs must marvel at the skill, within his own Two interesting and unique works included in
limitations, evinced by this curious breed of the exhibition were the water colors, "The Lady
painter. His was an all efficient technique applied of the Lake" and "Pomona." In order to fully
four fifty-eight
MARCH 1925