GIRL WITH THE GREEN SHAWL, BY HELEN M. TURNERGIRL WITH THE GREEN SHAWL, BY HELEN M. TURNERIn the Metropolitan Museum of Art, New York City
GIRL WITH THE GREEN SHAWL, BY HELEN M. TURNERIn the Metropolitan Museum of Art, New York City
BESSIE MOORE, BY VIRGINIA REYNOLDSBESSIE MOORE, BY VIRGINIA REYNOLDSIn the Metropolitan Museum of Art, New York City
BESSIE MOORE, BY VIRGINIA REYNOLDSIn the Metropolitan Museum of Art, New York City
ELIZABETH HUMPHREY, BY MARTHA S. BAKERELIZABETH HUMPHREY, BY MARTHA S. BAKERIn the Metropolitan Museum of Art, New York City
ELIZABETH HUMPHREY, BY MARTHA S. BAKERIn the Metropolitan Museum of Art, New York City
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.
ALEXANDER PETRUNKEVITCH BY MARGARET F. HAWLEYALEXANDER PETRUNKEVITCHBY MARGARET F. HAWLEYIn the Metropolitan Museum of Art, New York City
ALEXANDER PETRUNKEVITCHBY MARGARET F. HAWLEYIn the Metropolitan Museum of Art, New York City
Among other artists who are now prominently identified with American miniature painting may be mentioned Elsie Dodge Pattie, whose work is represented in the larger type of miniature, rendered with much tenderness and directness, as in the portrait heads of her own children. Also Margaret F. Hawley, of Boston, a thorough craftsman, as is evidenced in her fine portrait of Alexander Petrunkevitch. The work of Heloise G. Redfield, who has had a Paris training, is characteristic of the method of the French school (a method which has found little favor with American miniaturists generally) wherein there is a free wash of color on the surface of the miniature instead of the granulated appearance of stipple work. The work of Katherine Smith Myrick is in direct contrast, being entirely of stipple-producing qualities, while Mabel R. Welch uses free washes, qualified with delicate and well controlled stipple that never obtrudes in her finished work. The miniatures of Lucy M. Stanton, a southern painter, now in New York, are rendered rather in the manner of the late Theodora W. Thayer, and are strong in characterization. Those of Margaret Kendall are virile and natural, and her portraits of children are always charming. Maria Judson Strean's portraits are refined, and painted, with lightness and freedom. The work of Lydia E. Longacre is personal and has much charm. Harry L. Johnson, of Philadelphia, known as a miniaturist but a few years, has painted effectively both landscapes and figures on a diminutive scale. W. Sherman Potts is a competent and scholarly craftsman, who has established a summer school in miniature painting in Connecticut. Emily Drayton Taylor, who has been president of the Philadelphia Society of Miniature Painters since its organization, has been a prolific worker in the field.
Entered as second-class matter March 10, 1913, at the postoffice at New York, N. Y., under the act of March 3, 1879. Copyright 1917, by The Mentor Association, Inc.
PORTRAIT MINIATURESBy George C. Williamson
MINIATURES, ANCIENT AND MODERNBy C. J. H. Davenport
MINIATURESBy D. Heath
HISTORY OF PORTRAIT MINIATURES (two vols.)By George C. Williamson
HOW TO IDENTIFY PORTRAIT MINIATURESBy George C. Williamson
CHATS ON OLD MINIATURESBy J. J. Foster
⁂ Information concerning the above books may be had on application to the Editor of The Mentor.
Miniatures are painted in water color and in oil—more commonly the former. Some of the early Dutch and German miniatures were painted in oil, and, as a rule, on copper. The miniatures painted during the eighteenth century were chiefly in water color, and on ivory. It is said that ivory came into general use during the reign of William III (1689-1702). Miniatures before that time were painted on vellum or cardboard.
MRS. PARSONS By Richard Cosway, R.AMRS. PARSONSBy Richard Cosway, R.A.
MRS. PARSONSBy Richard Cosway, R.A.
SIR CHARLES OAKELEY By John SmartSIR CHARLES OAKELEYBy John Smart
SIR CHARLES OAKELEYBy John Smart
A YOUNG MAN IN MOURNING (1616) By Nicholas HilliardA YOUNG MAN IN MOURNING(1616) By Nicholas Hilliard
A YOUNG MAN IN MOURNING(1616) By Nicholas Hilliard
COL. HENRY SIDNEY (1665) By Samuel CooperCOL. HENRY SIDNEY (1665)By Samuel Cooper
COL. HENRY SIDNEY (1665)By Samuel Cooper
The development of miniature painting, especially as it is applied to portraits, is largely English, and our early American miniaturists drew their art from English painters. We present on this page reproductions of the work of four of the most famous early English miniature painters. The first of whom anything definite is known was Nicholas Hilliard (1547-1619). His work shows a close observation of the art of Hans Holbein. His little portraits look as if they had been taken out of illuminated manuscripts. His colors are solid, and gold is used to heighten the effect. Some of his pictures, moreover, are accompanied by Latin mottoes. Nicholas Hilliard had a son, Lawrence, whose work was similar to that of his father, but a little bolder in treatment and richer in color. Some years later came Samuel Cooper (1609-1672), reckoned by some the greatest English miniaturist. His work was broad and dignified, and has been referred to as "life-size work in little." His portraits of the prominent men of the Puritan period are vigorous, and true to life. The picture of Colonel Sidney, printed herewith, is interesting as showing the photographic fidelity of Cooper's work. There were many miniature painters during the eighteenth century, among whom Richard Cosway (1742-1821) stands prominent. His works were greatly admired for their smartness and brilliancy. In miniature form he pictured the pretty girl of the day. There were many people, however, of that same time that preferred the work of John Smart (1741-1811), for while he lacked the dashing style of Cosway, he excelled in refinement, power and delicacy—in "silky texture and elaborate finish." Smart's work was very popular, for he pictured fine people in fine style. The little portrait of Sir Charles Oakeley, printed here, is a typical example of Smart's work.
The Cosway and Smart miniatures on this page are taken from the collection of Mr. J. Pierpont Morgan; the Hilliard and Cooper miniatures from the collection of the Duke of Portland.
W. D. Moffat signatureW. D. MoffatEditor
W. D. MoffatEditor
ESTABLISHED FOR THE DEVELOPMENT OF A POPULAR INTEREST IN ART, LITERATURE, SCIENCE, HISTORY, NATURE, AND TRAVEL
CONTRIBUTORS—PROF. JOHN C. VAN DYKE, HAMILTON W. MABIE, PROF. ALBERT BUSHNELL HART, REAR ADMIRAL ROBERT E. PEARY, WILLIAM T. HORNADAY, DWIGHT L. ELMENDORF, HENRY T. FINCK, WILLIAM WINTER, ESTHER SINGLETON, PROF. G. W. BOTSFORD, IDA M. TARBELL, GUSTAV KOBBÉ, DEAN C. WORCESTER, JOHN K. MUMFORD, W. J. HOLLAND, LORADO TAFT, KENYON COX, E. H. FORBUSH, H. E. KREHBIEL, SAMUEL ISHAM, BURGES JOHNSON, STEPHEN BONSAL, JAMES HUNEKER, W. J. HENDERSON, AND OTHERS.
The purpose of The Mentor Association is to give its members, in an interesting and attractive way, the information in various fields of knowledge which everybody wants to have. The information is imparted by interesting reading matter, prepared under the direction of leading authorities, and by beautiful pictures, produced by the most highly perfected modern processes.
THE MENTOR IS PUBLISHED TWICE A MONTH
BY THE MENTOR ASSOCIATION, INC., AT 52 EAST NINETEENTH STREET, NEW YORK, N. Y. SUBSCRIPTION, THREE DOLLARS A YEAR. FOREIGN POSTAGE 75 CENTS EXTRA. CANADIAN POSTAGE 50 CENTS EXTRA. SINGLE COPIES FIFTEEN CENTS. PRESIDENT, THOMAS H. BECK; VICE-PRESIDENT, WALTER P. TEN EYCK; SECRETARY, W. D. MOFFAT; TREASURER, ROBERT M. DONALDSON; ASST. TREASURER AND ASST. SECRETARY, J. S. CAMPBELL
COMPLETE YOUR MENTOR LIBRARY
Subscriptions always begin with the current issue. The following numbers of The Mentor Course, already issued, will be sent postpaid at the rate of fifteen cents each
SerialNo.
NUMBERS TO FOLLOW
February 1. GEMS.By Esther Singleton, Author.
February 15. THE ORCHESTRA.By W. J. Henderson, Author and Music Critic.
THE MENTOR ASSOCIATION, Inc.
52 EAST 19th STREET, NEW YORK, N. Y.
backcover: Little Visits to the Beauty Spots of the World
THE MENTOR
LITTLE VISITS TO THEBEAUTY SPOTS OF THE WORLD
Nothing is more broadening than travel. To see foreign lands, to study individual characters, their manners, their mode of living, means a wider appreciation of the world, a broadening of your view-point of life. These particular Mentors, therefore, are extremely valuable.
SEND AT ONCE FOR THIS TRAVEL SET
This set will be sent you upon receipt of request. They cost $2.10. Send no money, merely a post card indicating that you desire this Travel Set. A bill will follow in due course. Address your request to
SECRETARY, THE MENTOR ASSOCIATION52 East Nineteenth Street . . New York City
MAKE THE SPARE MOMENT COUNT
Transcriber's NotesLast Page: Changed "Elmdneorf" to "Elmendorf."(Orig: CHINA By Dwight L. Elmdneorf)Page Two: Changed "amployment" to "employment."(Orig: ample appreciation and amployment,)