PORTRAITURE

Press, Volume LXX, Issue 21086, 10 February 1934, Page 15

PORTRAITURE

MR HARRINGTON MANN'S TREATISE The Technique of Portrait Paintinr. By Harrington Mann. Volume XV., The New Art Library (Second Series) : Seeley Service Ltd. 144 pp. (31/- net) This excellent book will be welcomed by artists and aspirants to the career of a portait painter. The author's manner graces the strict method of the chapters which he devotes to technical advice and to general observation based on his wide practical experience in this art. In the few first pages he briefly describes the attitude that the student should adopt towards the study of portrait painting and analyses some of the qualities whicn contribute to masterly achievement. Having dealt with the equipment for painting in oil colour, Mr Mann "ives advice on the use of colour with relation to its scientific composition, and some useful hints on the best way to preserve its brilliance. It is interesting to note that t'.-.e famous painters whose palettes -re given are: John Sargent, Sir William Open, Ambrose McEvoy, Sir' John Lavery, Augustus John, P Wilson Steer, and Mr Harrington Mann himself. He stresses the importance of good technique, particularly as there is a growing tenaencv to become indifferent to a quality which exhibits a certain refinement and, on account of the control of the medium, aids tne power of expression. The study of still life is recommended as an extremely good course, as it allows arrangements and experiments to be carried out unhampered by the movements of the model. Instructive chapters sue written on construction, with diagrams on proportion and line direction. Some hints are also given on the advisability of judicious elimination, or, perhaps, choice of essentials Mr Mann shows how a competent artist's manner expresses his individuality, even in the application of the medium, as when the pamt is loaded (or pasto) or ' premier coup. Interpretations of nature are therefore varied and interesting. The indefinable quality known as -•tvle the result of the artist s clear vision is felt instinctively by those I sensitive to it, or capable of recog- ' nising it. . , 7 I The book contains several coloured plates reproduced from portraits bv Mr Mann and reproductions in monchrome by other masters of portrait painting. There accompany them comprehensive notes, in which the author describes the characteristic facility oi Sargent, the precision of Orpen the charm of McEvoy, and the distinction of John. A self-portrait of Van Gogh is also reproduced, with this comment:

This portrait is introduced here in order to show the latest modern tendency. It is better that the student should get his own reactions without any comment on my part. I should only like to say that it attempts to discredit all technical skill, and if the student feels that the result justifies this attitude then his training will.be enormously simplified. He must himself be the judge.

Comments on the activities of the art critics are not omitted. The saying of one well-known writer on art, "La critique est la recherche des intentions," is quoted. Such a quest must be directed by some practical knowledge of the art. But Mr Mann is too wise to believe that the education of public taste can be anything but a difficult task, however well-equipned and discriminating the critic-educator. Anecdotes arising out of a portrait painters experience complete a book which will be a valuable addition to the art section of all libraries.