From Memory's Shrine: The Reminscences of Carmen SylvaSylva, Carmen
History
From Memory's Shrine: The Reminscences of Carmen Sylva
Sylva, Carmen
Queens -- Romania -- Biography; Sylva, Carmen, 1843-1916
These were the first two pictures Sohn painted in our family, but he was
henceforth every year a welcome visitor, often making a stay of many
weeks among us, and painting more than one portrait of each member of
the family. He was inspired to his finest work, one of his many
portraits of my mother--by seeing her in the ecstatic trance. So deeply
had this impressed him, that it was almost under similar conditions that
he worked, altogether removed from this earthly plane, blind and deaf to
all that went on around him, and entirely absorbed in the contemplation
of the radiant, transfigured countenance of his model, and in the
feverish effort to transfer to his canvas some faint reflection of the
wondrous radiance diffused over her whole person. In his despair of
obtaining this effect from the ordinary resources of his palette, he was
forever seeking some new means, devising some new combination of colour,
he would fain have dipped his brush in pure light, have steeped the
whole picture in unclouded sunshine! Something of this has been felt by
all those who have striven, with like fidelity and with the same gross
materials, to copy the dazzling hues even of some simple flower; has one
but tried, with such poor pigments, with our muddy bismuths and dingy
ochres, to reproduce the lily’s transparent whiteness or the rich gold
of the humble buttercup, we can the better appreciate the vanity of all
attempts at imitating on so feeble and limited a scale, the radiant
tints and subtle, endless gradations of Nature’s colour-box, employed by
the Divine Artist! We must needs perforce, for lack of the clear strong
light, throw up our dim half-lights and faded colours by deeper shadows.
But Sohn for this once would none of such artifice. Disdaining every
expedient of contrast, he laid on the colours simply and boldly, after
the manner of the Early Masters, painting with the pious enthusiasm, the
sacred fire that was theirs, and borrowing something of their technical
methods to impart the expression of holy rapture to the face, a
diaphanous delicacy to the folded hands, to give to the kneeling figure
the semblance of a martyr at the stake, a saint to whose beatific vision
the gates of Heaven are flung open wide!
Public-domain text, read in full here on John Shaqi.
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