. International studio. ature. And here a word must be said as to Gertlersattitude towards portraiture. With perfect frank- very far removed from that of his earliest now two things were to obsess him, firstly thecomposition ot things seen, and secondly thesimplification, that is to say the 1. ness and truthfulness (and it would be a matter certain portions of the composition, asof sheer impossibility to associate anything but an each of the three dimensions. He no Ion-extraordinary truthfulness with all that this artist Nature, he brings his personal \ ision to biattempts
. International studio. ature. And here a word must be said as to Gertlersattitude towards portraiture. With perfect frank- very far removed from that of his earliest now two things were to obsess him, firstly thecomposition ot things seen, and secondly thesimplification, that is to say the 1. ness and truthfulness (and it would be a matter certain portions of the composition, asof sheer impossibility to associate anything but an each of the three dimensions. He no Ion-extraordinary truthfulness with all that this artist Nature, he brings his personal \ ision to biattempts) he confesses that in portraiture he has no her, deviating from her wherever lu- finds il neces-concern with psychology, no connection with the sary for his composition, underrating, overnsoul side of his sitter. Such matters he considers contours and bulk to enable them to fit in andto pertain to literature, not to painting. He modifying his masses both in thickness as well as june 1922 (ico tucntv-tbree tnceRnAcionAL. SELF-PORTRAIT (l()20)IN THE ARTISTS LATEST STYLE in length and breadth. Always appreciative ofobjects, he finds in them an infinitude of variedinterest, according as he views them in varied rela-tions to one another. The realization of forms inspace is what seems to him of paramount impor-tance, and he cares little whether it is a house, atree, a china figure or a live one that he is depict-ing. He has done with the temptation to make hisforms abstract, he cares now far more aboutbalance and relation. Nor has he further interestwith the sophisticated, though very exquisitestudies, rather in the manner of Augustus John,which formerly satisfied him. It is the light onobjects, the look of those objects under differentconditions to which he devotes himself. The Self-Portrait, done in 1920, is an ex-ample of Gertlers late manner. He works slowlybut with a remarkable surety. All is conscien-tiously, logically and solidly built up, the paintingis line though sometimes
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