. Review of reviews and world's work. y toopleased to paint his picture for nothing. Mr. Whitman closes his article with this de-scription of the great artists physique : Lenbach was of stately stature and powerful fact, I once shocked his devoted wife by comparinghim to a gorilla. But he understood my playful refer-ence to the fierce, broad-shouldered king of the Africanforests, and smiled. Everything about the man denotedstrength, and yet refinement. Particularly the power-ful forehead, the piercing expression of his luminouseyes, which at times took a haze of tenderness rare evenin
. Review of reviews and world's work. y toopleased to paint his picture for nothing. Mr. Whitman closes his article with this de-scription of the great artists physique : Lenbach was of stately stature and powerful fact, I once shocked his devoted wife by comparinghim to a gorilla. But he understood my playful refer-ence to the fierce, broad-shouldered king of the Africanforests, and smiled. Everything about the man denotedstrength, and yet refinement. Particularly the power-ful forehead, the piercing expression of his luminouseyes, which at times took a haze of tenderness rare evenin a woman. His smile was set off by the possession of faultless white teeth, ofwhich he had not losta single one. He usedto call himself ugly, forthere was a certain rug-gedness about hisstrong features whichone finds among por-traits of the Dutch mas-ters. But for those whocan read aright the out-ward expression ofgreat qualities of heartand mind, the prouddignity of manliness,Lenbach looked whathe was— Every inch aking among men !. LENBACH. (From a bust in the Glyptothek,Munich, reproduced in Ju-oend.) Lenbachs Method. Franz Wo11 e r,writing in Brush andPencil, declares that 106 THE AMERICAN MONTHLY REVIEW OF REVIEWS. Lenbachs personality belongs wholly to thepresent. His works breathe the breath of themodernity in which they were created. Fur-ther, -no modern artist has ever succeeded socompletely in fashioning the whole surroundings?of his actual works into one artistic, harmoni-ous whole as has Lenbach. His method of the old masters. They wrought boldly, disdaining to jeopardize the(spontaneity and freshness of their work through pain-ful attention to detail. Such, also, was Lenbachsmethod. In working, he involuntarily excluded muchthat was immaterial,—much, too, that would, as detail,be full of charm and attraction. But this he did withcareful purpose, for he knew that an accumulation ofcharm and attraction, secondary though they be, wouldonly obscure, and mak
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