. Portrait . l space? Of course, this overloading of a picture with anincongruity of objects is meaningless. It is only ofvalue when the artist makes them say object must have its own individuahty and im-portance as a part of the composition so that nothingcan be taken away without spoiling the whole. Incriticising such an effort we must not forget to dis-tinguish the leading theme from the decorative inven-tions that encase them. These additions may besometimes rather commonplace, and yet be pleasingenough to be in good taste. They may be used in orderto make an effect-loving p
. Portrait . l space? Of course, this overloading of a picture with anincongruity of objects is meaningless. It is only ofvalue when the artist makes them say object must have its own individuahty and im-portance as a part of the composition so that nothingcan be taken away without spoiling the whole. Incriticising such an effort we must not forget to dis-tinguish the leading theme from the decorative inven-tions that encase them. These additions may besometimes rather commonplace, and yet be pleasingenough to be in good taste. They may be used in orderto make an effect-loving public accept a beauty toorefined or subtle for general appreciation. Some of thebest portrait painters are guilty of this so if we find some very ordinary accessoriesintroduced into a composition we must not misjudgethe sinceritv of the whole. The clever artist makes PORTRAIT concessions only in points of minor importance. Henever tinkers with his original inspiration and thething he The Hand GlassBy Raymond P. R. Neilson There is no doubt that if the figure in the Neilsonpicture had been placed a trifle higher a much simpler PORTRAIT background would have done just as well. The hand-mirror and the powder-box would have been amplefor any incident of occupation. Even the Japaneseprint behind the head of the sitter did not call for thespottiness on the left side of the picture. But as theexpression in the face is an exceedingly virile andspontaneous one, the artist wished to balance it by ageneral animation throughout the picture. He ac-complished the balance, the face stands out we feel that this unusual variety of minor pointsof interest was hardly necessary. It is surely not acalm and tranquil harmony that has been achievedby this wald outpouring of accessories, but rather anexaggeration of decorative possibilities. Louise Cox in her ^layflowers proceeded withmore moderation. It is not as brilliant but is a morerational composition. In
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Keywords: ., bookcentury1900, bookdecade1900, bookidpo, booksubjectphotography
