International studio . ngleheartminiature, General Henry, Earl force the sentimen-tal appeal this artistgenerally enlarged theeyes of his sitters out ofall proportion to theirface, aiming at a sweet-ness of expression, evenin male sitters, whichwas truer to a senti-mental age and to hisGerman ancestry thanto any one he had topaint. The Beauchamp mini-atures as they are setout at South Kensing-ton show specimens ofthe art upon patch-boxes. The portrait ofa favourite like Ninonde Lenclos would becopied from surface tosurface with amazingskill in preserving the accepted likeness. But
International studio . ngleheartminiature, General Henry, Earl force the sentimen-tal appeal this artistgenerally enlarged theeyes of his sitters out ofall proportion to theirface, aiming at a sweet-ness of expression, evenin male sitters, whichwas truer to a senti-mental age and to hisGerman ancestry thanto any one he had topaint. The Beauchamp mini-atures as they are setout at South Kensing-ton show specimens ofthe art upon patch-boxes. The portrait ofa favourite like Ninonde Lenclos would becopied from surface tosurface with amazingskill in preserving the accepted likeness. But there can be no doubtthat the dignity of the miniature suffered indescending from character-reading to titiva-tion. Miniaturists ceased to regard their artwith the former pride. Great artists leftsmaller ones to reduce and reproduce theirpictures, until at last we are aware that nomasters remain in the business, only exquisitecopyists, curtailing all promise for the future oforiginal work. Then came the stage when the. ideal before the miniaturist was no longer thatof a painting, but that of a daguerreotype;finally it was altogether that of a fashionablephotograph, in the production of which it seemsa retouchers specialfunction to obliterateeverything upon whichintimate revelation ofcharacter depends. GENERAL HENRY, (I784 BY GEORGE EARL BEAUCHAMP-1863)ENGLEHEART [The text illustra-tions to the foregoingarticle have been re-produced from theofficial photographs ofthe originals, and wedesire to acknowledgethe courtesy of theDirector in allowing usto use these copyrightphotographs, and alsoin affording facilitiesfor the reproduction ofthe examples which weillustrate in colour.—The Editor.] The pictures purchased by the ChantreyTrustees from the recent Royal Academy ex-hibition are : A Young Breton, by Glyn Philpot,, and Forward—The Guns, by LucyKemp-Welch. Through a misapprehension thereproduction of Mr. D. Y. Camerons pictureThe Hills of Lome appeared in our June issue
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Keywords: ., bookcentury180, booksubjectart, booksubjectdecorationandornament
