The opinion seems to prevail that different subjects require different mediums. Oils are supposed to be best for men, pastels and crayons for women and children. But we must remember that Holbein's magnificent drawings of men are equal, if not superior, to any painting. Latour could render in pastel the strength of men as well as the delicacy of women and the portraits of women and children by the great English painters, or by Renoir, prove that with oil paints the most subtle qualities can be ob tained. However, the lighter mediums permit the artist to aban don and take up his work at will, an important factor where capricious women and children are concerned. Oil painting requires longer sittings.
It is wise for an artist to change his medium now and. then. Nothing freshens up his colour sense better than a water-colour or pastel and etchings stimulate his interest in line. Sculpture is the greatest tonic a painter can use. Most of the great masters devoted themselves to other subjects besides portraits. It is needless to mention the religious paintings of the old masters, the landscapes of Rembrandt, Rubens, Gainsborough, Whistler and Sargent. When tired of the sickly court Velasquez would take as models robust peasants. No artist can paint day after day the same type of picture without lessening the keen interest which is necessary for success. The joy which the artist takes in his work
is communicated to the beholder.
It is difficult to form an opinion about contemporary portrait painting, as some of the best portraits are never exhibited. There are sincere, conscientious artists who with the right encourage ment would be able to leave important work, but there are also many of the kind Hogarth attacked : those who impose on an ignorant public by painting from photographs; those who hide their ignorance and lack of talent behind all sorts of theories; claiming that likeness is not necessary; those who are more inter ested in paint and in clever brush work than in their sitter.
The sincere modernist in his effort to give to painting the emotional quality of music, finds in likeness as yet an obstacle, although his idols, the Orientals, Egyptians and primitives, made of it a powerful aid. He is governed by taboos and prejudices as bad as those of the Academy, but rigid as are the rules and laws laid down by the modernist, they are "subject to change without notice." He is quick to admit an error in his arguments as in the case of cubism. Fortunately there is an increasing number of cultured people who know what a fine portrait is, and who have pride and standing enough to wish to be painted as they are. (See also PAINTING; OIL PAINTING; MINIATURE PAINTING.) (F. T. W.)