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Franz von Lenbach was once asked what he thought likely to be the fate of his own work. "As for that," he replied, "I think I may possibly have a chance of living; but ONLY if Individualization or Characterization be deemed to constitute a quality of permanent value in a picture. This, however, I shall never know, for it can only be adjudged by posterity.
He therefore deferred until later his difficult choice and went to luncheon, as if nothing had happened, at the restaurant where he was expected. Certainly the proprietor did not mistrust, in replying to the questions of his guest relative to the most recent portraits of Lenbach, that the young man, so calm, so smiling, had on hand a duel which might cost him his life.
For the famous American portrait-painter detested all sorts of litter, such as a painting-table, brush-jars, and the like, as much as his great predecessor Lenbach ever did, and when he was at work his old servant brought him a brush, a tube of colour, a knife, or a pencil, as each was needed, from a curtained recess where everything was kept ready and in order.
The sculptor is a formidable bore, the antique raisonneur of French drama, preaching at every pore every chance he has. The actor who played him, Hans Marr, made up as a mixture of Lenbach the painter when he was about forty-five and the painter, etcher, and sculptor, Max Klinger. The violinist was Lina Lossen, and excellent in the part.
Room 62 is even more important. It offers a Millet, far from typical; a capital Schreyer, two portraits by the German Von Lenbach, a small but interesting sample of Alma Tadema's finished style, and the sensational "Consolatrix Afflictorum" by Dagnan-Bouveret.
Madame Parlaghy is a pupil of Makart and of Lenbach, and a native of Hadji-Dóròg, in Hungary. She is between thirty and forty, possessed of glittering, enigmatic eyes, highly-colored cheeks and lips, and the almost too profuse head of hair that one sees so often on the shores of the Danube.
On wall B is Sir Laurens Alma-Tadema's "Among the Ruins," sole representative here of the English School of "polished" painters that strongly influenced a number of American artists. On wall D are two very interesting portrait studies by Franz von Lenbach, intended to suggest the influence of the Munich School on American art, before Americans began to flock to Paris to study.
One of her instructors was Lenbach, and she is said by some critics to have appropriated his peculiarities as a colorist and his shortcomings in drawing, without attaining his geniality and power of divination. In 1891 her portrait of Count von Moltke, begun shortly before his death and finished afterward, was sent to the International Exposition at Berlin, but was rejected.
'Prices have gone up, said the painter, dryly. 'Oh! so you know all about Lenbach? 'You lent me the article. However' Fenwick rose 'is that our bargain? The note in the voice was trenchant, even aggressive. Nothing of the suppliant, in tone or attitude. Morrison surveyed him, amused. 'If you like to call it so, he said, lifting his delicate eyebrows a moment. 'Well, I'll take the risk.
He therefore deferred until later his difficult choice and went to luncheon, as if nothing had happened, at the restaurant where he was expected. Certainly the proprietor did not mistrust, in replying to the questions of his guest relative to the most recent portraits of Lenbach, that the young man, so calm, so smiling, had on hand a duel which might cost him his life.
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