But is the drawing distinguished, or
subtle, or refined? or is it mere parade of knowledge and practice of
hand? The face charms us with its actuality; but is there a touch
intimately characteristic of the model? or is it merely a vivacious
appearance?
But if the drawing when judged by the highest standard fails to
satisfy us, what shall be said of the colour? Think of a
cherry-coloured velvet filling half the picture--the pale cherry pink
known as cerise--with mauve lights, and behind it pale yellowish
draperies and an Aubasson carpet under the lady's feet. Of course this
is very "daring", but is it anything more? Is the colour deep and
sonorous, like Alfred Stevens' red velvets; or is it thin and harsh,
like Duran? Has any attempt been made to compose the colour, to carry
it through the picture? There are a few touches of red in the carpet,
none in the draperies, so the dress is practically a huge splash
transferred from nature to the canvas. And when we ask ourselves if
the picture has style, is not the answer: It is merely the apotheosis
of fashionable painting? It is what Messrs. Shannon, Hacker, and
Solomon would like to do, but what they cannot do. Mr. Sargent has
realised their dreams for them; he has told us what the new generation
of Academicians want, he has revealed their souls' desire, and it
is--_l'article de Paris._
The portrait is therefore a prodigious success; to use an expression
which will be understood in the studios, "it knocks the walls silly";
you see nothing else in the gallery; and it wins the suffrages of the
artists and the public alike.
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