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THE MENTOR 1917.01.15, No. 123


[Illustration: (decorative background)]

LEARN ONE THING
EVERY DAY

[Illustration]

JANUARY 15 1917

SERIAL NO. 123

THE
MENTOR

AMERICAN
MINIATURE
PAINTERS

By MRS. ELIZABETH LOUNSBERY
Author

DEPARTMENT OF
FINE ARTS

VOLUME 4
NUMBER 23

FIFTEEN CENTS A COPY




Art and Life

[Illustration: (decorative)]


We are close to realizing the greatest joys to be found in this
workaday world when we accept art as a vital part and not a thing
separate and distinct from our daily lives. Then we come to know the
true values of things--to "find tongues in trees, books in running
brooks, sermons in stones, and good in everything."

[Illustration: (decorative)]

"Art, if we so accept it," says William Morris, "will be with us
wherever we go--in the ancient city full of traditions of past time,
in the newly cleared farm in America or the colonies, where no man has
dwelt for traditions to gather round him; in the quiet countryside as
in the busy town--no place shall be without it.

[Illustration: (decorative)]

You will have it with you in your sorrow as in your joy, in your
working hours as in your leisure. It will be no respecter of persons,
but be shared by gentle and simple, learned and unlearned, and be as
a language that all can understand. It will not hinder any work that
is necessary to the life of man at the best, but it will destroy all
degrading toil, all enervating luxury, all foppish frivolity.

[Illustration: (decorative)]

It will be the deadly foe of ignorance, dishonesty, and tyranny, and
will foster good-will, fair dealing, and confidence between man and
man. It will teach you to respect the highest intellect with a manly
reverence, but not to despise any man who does not pretend to be what
he is not."




[Illustration: JOHN LAWRENCE.

BY JOHN TRUMBULL.

Actual size 3-3/4 inches high.

IN THE POSSESSION OF

THE NEW YORK HISTORICAL SOCIETY]




_AMERICAN MINIATURE PAINTERS_

_John Trumbull_

ONE


The work of John Trumbull as a historical painter has already been
considered in The Mentor (No. 45), and in that number, too, the main
facts of his life are told. John Trumbull was a patriotic American and
a leader in the artistic and public life of his day, both in England
and in America. His position was much more than that of a painter.
His attitude toward painting was not one of complete and whole souled
devotion. "I am fully sensible," he wrote at one time, "that the
profession of painting as it is generally practised is frivolous,
and unworthy a man who has talents for more serious pursuits. But to
preserve and diffuse the memory of the noblest series of actions which
have ever presented themselves in the history of man is sufficient
warrant for it." We see accordingly that John Trumbull's idea of the
work of a painter was to _write history on canvas with a brush_--and
his pictures bear out his idea.

His life governed and controlled his art. He was born in Lebanon,
Connecticut, in 1756, a son of the Colonial governor of that
State, and from early years he revealed a mental vigor that was
extraordinary. He was an infant prodigy in learning. He entered
Harvard College in the junior year at the age of fifteen, and the time
he spent there was occupied in omniverous reading and study--which
finally came near wrecking his health. When he was a student he
visited the great painter John Singleton Copley, and became impressed
with that great painter's idea of the dignity of an artist's life. He
determined to study art, and he was learning to paint when the War of
the Revolution began. This event determined the character of his art
life. His skill in drawing being noted by General Washington, he was
set to work making plans of the enemy's works. He was then promoted
to a position on the general staff, and, afterward, served as colonel
under Gates. But aggrieved at what he considered a tardy recognition
of himself by Congress, he resigned from the army, went to England and
there, meeting the distinguished artist, Benjamin West, took up under
him the study of painting. When Major Andre was executed there was a
spirit of retaliation aroused in England, and Trumbull was arrested
and imprisoned as a spy. It was only the intercession of Benjamin West
that saved his life. After seven months' imprisonment he was released,
on condition that he leave the country. He did not leave, however,
but continued his studies with West, and did not return to the United
States until 1789.

And so we see that Trumbull's life was more that of a patriot than a
painter. Art was not the controlling factor with him, but the servant.
He devoted his brush to the commemoration of great historical events,
such as the battles of Bunker Hill and Trenton. And when he painted
portraits he selected the prominent patriotic figures in the public
life of his time--Washington, Alexander Hamilton, and others of like
importance.

It was only natural then that he should turn with an interest little
short of enthusiasm to the portrait of that brave and gallant officer,
Captain Lawrence. The face of Lawrence, as shown in Trumbull's
miniature, is more rotund, more genial--not to say jovial--than we
are led to believe it to be from other portraits. John Trumbull knew
Lawrence, however, and found great satisfaction in this portrait. The
special interest to us that distinguishes the portrait from others of
Lawrence, is that it imparts a sense not so much of the military as
of the personal character of the man. As pictured here, by Trumbull,
he is a very human hero. In studying this portrait, we feel anew the
gripping pathos of Lawrence's tragic end.


PREPARED BY THE EDITORIAL STAFF OF THE MENTOR ASSOCIATION ILLUSTRATION
FOR THE MENTOR. VOL. 4, No. 23, SERIAL No. 123 COPYRIGHT, 1917, BY THE
MENTOR ASSOCIATION, INC.




[Illustration: THE HOURS, BY EDWARD G. MALBONE

Actual size: 7 inches high, 6 inches wide.

COPYRIGHT, 1895, BY THE PROVIDENCE ATHENAEUM

IN THE PROVIDENCE ATHENAEUM]




_AMERICAN MINIATURE PAINTERS_

_Edward G. Malbone_

TWO


Edward Greene Malbone was born in Newport, Rhode Island, August 17,
1777, and died in Savannah in 1807. While a boy he frequently visited
the local theater in his native town to watch the process of scene
painting, and, later, tried his hand at this work--attaining what
was considered by the townspeople great success. As a child he was
quiet, reserved and self-absorbed. At sixteen he showed an indication
of great talent in his first portrait miniature. Encouraged in his
efforts by the English Consul at Providence, he devoted himself to the
study of drawing heads and painting miniatures, and, at seventeen,
he became professionally identified with miniature painting in
Providence, and, in 1796, fairly established as a miniature painter in
Boston.

In 1800 he accompanied his friend and fellow artist, Washington
Allston, to Charleston, and the following year the two went together
to Europe. It was during his stay in London that Malbone painted his
most important miniature, "The Hours," now owned by the Providence
Athenaeum. This shows, at three-quarter length, the figures of three
beautiful women, who represent, as the Greeks personified them,
Eunomia, Dice (die'-see) and Irene--the Past, the Present and the
Coming Hour. They have a general resemblance and seem as if they might
represent the same individual in different moments of emotion and
development.

On the left is seen Eunomia or the Past, with an expression of
pensive reluctance rather than regret. The central figure is Dice,
or the Present--looking straight out from the picture. Her right arm
is slightly raised toward Eunomia, at the left, while the left hand
reaches half deprecatingly toward the Coming Hour. Irene, or the
Coming Hour, is shown leaning upon the left shoulder of the Present.

This miniature was given to his sister by the painter during
his lifetime, and, later, was purchased from the family by the
subscription of twelve hundred dollars for the Providence Athenaeum.

Although urged by Benjamin West to remain in England, where his art
would win him ample appreciation and employment, Malbone preferred
to return to America, and on his arrival traveled for several
years--stopping in the principal cities to paint miniatures. "These,"
to quote Tuckerman, "are among the few pleasant and precious artistic
associations with the past in this country."

Ill health finally took Malbone to Jamaica, but finding that his
illness was incurable he left there, with the intention of returning
to New England, but died in Savannah--in the prime of his life and
success--before he could reach the North. Malbone is now considered
the most important of all miniaturists of his time.


PREPARED BY THE EDITORIAL STAFF OF THE MENTOR ASSOCIATION
ILLUSTRATION FOR THE MENTOR, VOL. 4, No. 23, SERIAL No. 123
COPYRIGHT, 1917, BY THE MENTOR ASSOCIATION, INC.





[Illustration: THE GOLDEN HOUR.

BY W. J. BAER

Actual size. 4 inches high, 5 inches wide.

COPYRIGHT. 1896, BY W. J. BAER

IN THE POSSESSION OF

MR. ROBERT S. CLARK, NEW YORK CITY]




_AMERICAN MINIATURE PAINTERS_

_William J. Baer_

THREE


Art beckons and the artist follows. Only an artist knows what the lure
of art is. The field of art is full of enticements. Little incidents,
apparently insignificant, have sometimes been sufficient to change an
artist's career and direct him toward his most brilliant achievements.

William J. Baer was thirty years of age before he painted a miniature.
More than that, he had never seen a miniature that interested him, and
he believed that miniature painting had limitations that precluded it
from serious consideration. He was an instructor of drawing at Cooper
Institute, New York City, an illustrator for magazines, and a painter
of portraits, and had no thought of painting miniatures when, in 1892,
he finished a very successful portrait of the late Alfred Corning
Clark of New York. Mr. Clark was so pleased with the painting that he
expressed a desire to have a copy of it in miniature. Mr. Baer did not
believe that a result could be obtained worthy of the effort, so he
refused to try it. Mr. Clark renewed his request, and Mr. Baer again
refused. A short time after, however, having some leisure, his mind
turned back to Mr. Clark's request, and, upon consideration, he was
prompted to make a quiet attempt at miniature painting. He supplied
himself with the necessary materials, and made his first experiment
by copying a head from one of his own pictures, a profile of a young
woman. The result was surprising to him--detail, patience, eyesight
and hand served him well. In another week he had painted the miniature
of Mr. Clark from his original sketch in oil colors. When Mr. Clark
saw it he was delighted and asked for another. And so, out of what was
at first a mere diversion, Mr. Baer developed a perfected art.

With the showing of Mr. Baer's miniatures at the First Portrait Show
in 1894, his success was definitely assured.

In 1896 he painted his first ideal miniature, "The Golden Hour,"
now owned by Mr. Robert S. Clark of New York City. The idea of this
exquisite picture developed from an effort of Mr. Baer's to paint
in profile from memory the head of an auburn-haired girl that he
had seen. A well-known English girl who had posed for Sir Edward
Burne-Jones and Sir Frederick Leighton, happened then to call at his
studio. Several sittings, in which a number of pencil and red chalk
drawings were made, gave him an entirely different idea. The profile
developed into a lovely dream picture, in which woman's crowning
glory, her glowing hair, was poetically idealized. The picture shows
two profiles, like twin sisters--the first with hair of dark copper
tinge, the second at the left with hair of brilliant auburn, melting
into the sunset colors of the sky.

This was the first of a number of ideal works by Mr. Baer, and was
followed at intervals by others of like charm. "Primevera," painted
in 1908, which is Mr. Baer's most important and ambitious endeavor,
represents Flora, the handmaiden of spring, and is a delicate color
poem.

Mr. Baer was born in Cincinnati, Ohio, on January 29, 1860. He studied
art in Cincinnati and in Munich. He returned to America in 1885, and
for several years was an instructor in various art institutions.
In 1897 he received the first-class medal for miniature and ideal
subjects in New York, and he was an organizer and a former president
of the American Society of Miniature Painters. Mr. Baer is at present
treasurer of that society and an associate of the National Academy.


PREPARED BY THE EDITORIAL STAFF OF THE MENTOR ASSOCIATION
ILLUSTRATION FOR THE MENTOR. VOL. 4. No. 23, SERIAL No. 123
COPYRIGHT, 1917, BY THE MENTOR ASSOCIATION, INC.




[Illustration: MRS. BECKINGTON, BY ALICE BECKINGTON

Actual size: 5-1/4 inches high, 4-3/8 inches wide.

IN THE METROPOLITAN MUSEUM OF ART, NEW YORK CITY]




_AMERICAN MINIATURE PAINTERS_

_Alice Beckington_

FOUR


Alice Beckington is one of the leading members of the American Society
of Miniature Painters, and she now holds the office of vice-president.
She was born in St. Charles, Missouri, on July 30, 1868. She was
a pupil at the Art Students' League in New York under Carroll
Beckwith--after that she studied in Paris with Benjamin Constant.
Miss Beckington was a close friend of Miss Thayer's, and the work of
the two shows a sympathetic understanding. Miss Beckington's work is
serious, fine in taste, and dignified in character. She does not play
lightly with her art. Her pictures have a pleasing warmth of color;
that is to say, blacks and browns, golden flesh colorings, and grays
that are never cold. Occasional cool effects are, however, to be
found in her work, for Miss Beckington has a full appreciation of the
value of harmoniously contrasting color. The picture reproduced on
the reverse side of this sheet is taken from an original miniature in
the Metropolitan Museum of Art. It is a portrait of Miss Beckington's
mother, the original ivory plate being slightly smaller than the
reproduction here given.

As may be seen, it is a work of distinction. The character of this
refined woman is portrayed with simple eloquence. The pale blue of
the dress and the delicately toned background set off in a poetic and
sympathetic manner the character of this fine gentlewoman. The picture
is thoroughly representative of Miss Beckington's work, and amply
explains her high standing among our miniature painters. Just as many
persons in social life who are assured in their exclusive positions
dress simply and unaffectedly, so Miss Beckington paints--with
directness and sincerity, without display or striving for effect.

Miss Beckington, referring to her early efforts in miniature painting,
says that it was during the four years when she was working in oils
in Paris that she became interested in miniature painting--and that
in this work she was self-taught. Her first portrait of her mother
was accepted by the Salon in Paris in 1894, and upon her return to
New York she exhibited pictures annually at the National Academy.
She believes that the great principles of art that obtain in oil