Vietnam or Thailand ? Vote for the TOP Country of the Week !

Updated: June 17, 2025


Neither is there anything in the sitter's dress to forbid it to a man of this stamp, even after the sumptuary laws of Henry VIII. were passed; while there is much, very much, to suggest an English origin.

I might have learned this anywhere else, but I did get it from the Stieglitz camera realizations with more than perhaps the expected frequency, and I am willing to assert now that there are no portraits in existence, not in all the history of portrait realization either by the camera or in painting, which so definitely present, and in many instances with an almost haunting clairvoyance, the actualities existing in the sitter's mind and body and soul.

The cushions of the easy-chair still bore the impress of the sitter's weight; the footstool was hardly pushed aside; the massive library table was undisturbed; the silver spoons and sugar-tongs beside the tumbler and plate on the supper tray; the yellow light of the lamp still burnt; not a paper was ruffled, not a drawer pulled out.

I had never seen a crayon of Lillo's, and I lost sight of the sitter's personality in the interest aroused by this new aspect of the master's complex genius. The few lines faint, yet how decisive! flowered out of the rough paper with the lightness of opening petals. It was a mere hint of a picture, but vivid as some word that wakens long reverberations in the memory.

Close to the door, against the bulkhead, stood a massive and handsome cabinet writing-table, so placed that the light from the stern windows would fall over a sitter's shoulders on to the table.

This is another work which has undergone more than one transformation in the course of its records. As late as 1657 it was correctly ascribed to Holbein in the Modena Collection. But the first syllable of the sitter's name has been its only constant. In time Morett slipped into Moretta, and then like Meier in the Madonna picture into Morus. So far it seems to have clung to some English tradition. But when Morus got changed to Moro it was but natural for an Italian to think of Ludovico Sforza, "Il Moro." Long before this Holbein had become Olbeno; and thereafter a puzzle. When the portrait was labelled Sforza, however, who could its obviously great painter be but Leonardo? Et voil

He was not painting, now, with full brush and swift sure strokes, as had been his way when building up his picture, but worked with occasional deft touches here and there; drawing back from the canvas often, to study it intently, his eyes glancing swiftly from the picture to the sitter's face and back again to the portrait; then stepping forward quickly, ready brush in hand; to withdraw an instant later for another long and searching study.

Life comes from human personality. Ars est homo additus naturae. Art, that is, is nature seen through a temperament, the facts seen by a particular mind. The landscape into which the painter has put nothing of his own personality is fitter for a surveyor's office than for a picture gallery. The portrait which gives nothing but the sitter's face is as dull as a photograph.

It has obvious affinities with the Oswolt Krel, but the caligraphic method is again modified in harmony with the character of the sitter's features. The companion piece, representing Felicitas Tucherin, would seem at some period to have been restored to the insignificance and obscurity that belonged to the sitter before Duerer painted her.

"That does not necessarily follow," observed Duvall. "Why not?" "Because the picture might have been obtained from the photographer." "But they are not allowed to dispose of the portraits of others, without the sitter's permission." "I know that, but they sometimes do so, especially in the case of anyone so well known as Miss Morton. She has become a sort of public character.

Word Of The Day

dummie's

Others Looking