The Mentor: American Miniature Painters, January 15, 1917, Serial No. 123 — John Shaqi
The Mentor: American Miniature Painters, January 15, 1917, Serial No. 123Lounsbery, Elizabeth
General
The Mentor: American Miniature Painters, January 15, 1917, Serial No. 123
Lounsbery, Elizabeth
Miniature painting -- United States; Portrait painters -- United States; Portrait painting, American -- 19th century
[Illustration: ELEANOR B., BY WILLIAM J. WHITTEMORE
Exhibited at the Panama-Pacific Exposition]
[Illustration: MISS M., BY WILLIAM J. WHITTEMORE]
_Lucia Fairchild Fuller_
The successes of Lucia Fairchild Fuller, like those of Miss Hills
and Miss Thayer, followed immediately upon Mr. Baer's. Mrs. Fuller's
painting, like Mr. Baer's, is full of tenderness, reflecting
sympathetically and affectionately the details of her subjects.
Feminine grace and the charm of child life are special qualities of
her work. In the Metropolitan Museum may be seen a masterpiece of
child portraiture--a little girl standing in her nightgown, caressing
her doll. In this the color scheme is delicate throughout--in the
tender pearly flesh and the pale blue background. In "Mother and
Child," the portrait of a woman with a classic profile, dressed in red
brocade with ivory white draperies over her shoulders, upholding the
nude figure of a little girl with outstretched arms, is again seen a
perfection of arrangement, line and fine color, and a predominating
human interest that attracts by its sympathy.
_Alice Beckington_
Alice Beckington, like the other miniaturists just referred to, was
one of the original members of the American Society of Miniature
Painters. A close friend of Miss Thayer's in the latter's lifetime,
she profited much by that influence. Her work is distinguished by its
dignity and reserve. Her most successful miniatures tend to warm
schemes of color. In her portrait of her mother ("Portrait of Mrs.
Beckington") in the Metropolitan Museum, the coloring of the dress is
of a faded blue, against a background of a warm, dull coloring--not
gray, not brown, while the reddish color of the chair provides the
only note of difference needed to satisfy the eye. This picture is
essentially characteristic of Miss Beckington's art, representing her
straightforward and sincere simplicity, combined with an appreciation
of subdued color harmonies.
[Illustration: GIRL WITH THE GREEN SHAWL, BY HELEN M. TURNER
In the Metropolitan Museum of Art, New York City]
[Illustration: BESSIE MOORE, BY VIRGINIA REYNOLDS
In the Metropolitan Museum of Art, New York City]
[Illustration: ELIZABETH HUMPHREY, BY MARTHA S. BAKER
In the Metropolitan Museum of Art, New York City]
_William J. Whittemore_
William J. Whittemore is well known as a painter in oils and in water
color--one who essayed miniature painting without ever deserting the
other mediums. His work is marked by a fondness for completeness
of beauty and fineness of finish, whether in oil or miniature.
As a master of form and an excellent painter of likenesses, Mr.
Whittemore has executed a great number of portrait miniatures. His
"Burgomeister," in which an old man wearing a ruff appears against
a somber background, is a fine bit of characterization, strongly
expressed.
[Illustration: ALEXANDER PETRUNKEVITCH
BY MARGARET F. HAWLEY
In the Metropolitan Museum of Art, New York City]
Public-domain text, read in full here on John Shaqi.
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