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TYPES OF FEMALE BEAUTY. HANS MAKART AND EDWIN LONG, R.A. (FROM OUR SPECIAL CORRESPONDENT.) LONDON, APRIL 16.
The Sydney Morning Herald (NSW : 1842 - 1954) Wednesday 10 June 1885, page 5
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2012-05-01 20:20:52.0user:public:johnfoxsuggesting a move. On the oposite side of the
head standing majontioally out of a stiff Medici
who stands in the water *n<l supports a wanton youth-
the spectators, is a full-léngth straw-coloured-hair
upon which another bather reolines. This oae is of the
a rich deep-coloured crimson velvet ourtain, which
balances a deep blue arras to the right The pavilion
relief, This reclining bather is very lovely, and all her
except that over her left knee, and acrosB her body falls
carelessly a pearly Bhot-silk drapery. She, with out-
stretched hand-and a lovely hand it is-is toying
Thia work, like all Makart's, is purely spectacular.
In inmptuousness, " in the pomp of colour so exalted,
drapery, Makart was a disciple of Psul Veronese, and
follower of liubena. The result is very splendid ; but
humaoness of Bubene. His work is therefore,
though popular, theatrical instead of dramatio; and
oharaoter, either mental or emotional. Of Paul Veronese
»chanting music. Of Makart, a witty Frenchman,
laid that his art was like the music of a brass band.
' ' Summer " ÍB to be reproduced in photo-gravure, and
fou will shortly, I have no doubt, be able to test the
, {raphicnees of this present description.
suggesting a move. On the opposite side of the
head standing majestically out of a stiff Medici
who stands in the water and supports a wanton youth-
the spectators, is a full-length straw-coloured-hair
upon which another bather reclines. This one is of the
a rich deep-coloured crimson velvet curtain, which
balances a deep blue arras to the right. The pavilion
relief. This reclining bather is very lovely, and all her
except that over her left knee, and across her body falls
carelessly a pearly shot-silk drapery. She, with out-
stretched hand - and a lovely hand it is - is toying
This work, like all Makart's, is purely spectacular.
In sumptuousness, " in the pomp of colour so exalted,
drapery, Makart was a disciple of Paul Veronese, and
follower of Rubens. The result is very splendid ; but
humanness of Rubens. His work is therefore,
though popular, theatrical instead of dramatic; and
character, either mental or emotional. Of Paul Veronese
chanting music. Of Makart, a witty Frenchman,
said that his art was like the music of a brass band.
' ' Summer " is to be reproduced in photo-gravure, and
you will shortly, I have no doubt, be able to test the
graphicness of this present description.
2012-05-01 20:16:04.0user:public:johnfoxsuggesting a move. On the pposite side of the
suggesting a move. On the oposite side of the
2012-05-01 20:15:38.0user:public:johnfoxTTPJE3 OF FEMALE BEAUTY. ,
PANS IIAKABT AND EDWIN LONG, B.A» I
that is, painting the nude as such, and for it« own
R.A. ; and one is by a Russian, Mr. BukoTac. This
last, indifferently styled "The "White Slave" and
Nat»," is the realistio depiction of an entirely nude
.woman reolining. It will be tngravsd and published
Wales ; but it ÍB outside the object of this letter, and in
1 think, be no doubt that Hans Makart painted his
enormous canvas (25 feet by 16). entitled " Summer,"
representing nude figures; and the same must bo said
of Mr. Long's two canvases of " Zeusis at Crotona,"
a Man of Pleasure," "Borneo Beside the Body of
" Enhance of the Emperor Charles V. into Antwerp."
This was at the Paris Exhibition in 187S, and of it
then ii an excellent etching on a large scale, which
many of your readers will bave seen, and which will
racal'l the conspicuous young ladies in their " birthday
Wfaat particular reason the artist bad for repre-
senting nude women in suoh a procession either from
able to discern. The work causod a great sensation, of
course, and it murt be (aid that that sensation was jueti
Had by the cleverness and vigour of the work, and the
general, for he was a great favourite at the Conrt
members of the oommunity. So great indeed was the
tbe aristocracy sat to him as models. A strange con-
dition of' manners may be indioated by that
faot, bnt it is not obvious that there is any-
sitting aa a model out of pure resthetio
emperor,
tress, is a marble bath. On a sultry day some ladlee
bath, after which some are reposiog, others playing
chees, and others again looking on. To the right, in
the foreground, with her bock to the spectator, is a
haughty dame, dad in a bronze-colour brocade, absorbed
suggesting a move, Oo tne opposite side of the
(»OK OU» BPBOIAL COERESrONDEKT.) , ,
The» are «one piotures now on exhibition m
lectual and moral adventagee of painting the nude
"We will first look at these pictures, haye a word or
about dO. He literally worked himself to death. He
was bom at Salzburg, in 1844, and studied at Muoioh
In the Sohool of Piloty. He made his first gmt
imprsBsion on European publio opinion in 1867,
when he exhibited at the Paris Exhibition a largs pic-
high prices. The " Catherine Oornaro," now at Berlin,
cost £2600. His best known works are-" Tbe Seven
LONDON, ArniT, 16.
TYPES OF FEMALE BEAUTY.
HANS MAKART AND EDWIN LONG, R.A.
that is, painting the nude as such, and for its own
R.A. ; and one is by a Russian, Mr. Bukovac. This
last, indifferently styled "The White Slave" and
Nana," is the realisti depiction of an entirely nude
woman reclining. It will be engraved and published
Wales ; but it is outside the object of this letter, and in
I think, be no doubt that Hans Makart painted his
enormous canvas (25 feet by 16), entitled " Summer,"
representing nude figures; and the same must be said
of Mr. Long's two canvases of " Zeuxis at Cretone,"
a Man of Pleasure," "Romeo Beside the Body of
" Entrance of the Emperor Charles V. into Antwerp."
This was at the Paris Exhibition in 1878, and of it
then is an excellent etching on a large scale, which
many of your readers will have seen, and which will
racall the conspicuous young ladies in their "birthday
What particular reason the artist had for repre-
senting nude women in such a procession either from
able to discern. The work caused a great sensation, of
course, and it must be said that that sensation was justi-
fied by the cleverness and vigour of the work, and the
general, for he was a great favourite at the Court
members of the community. So great indeed was the
the aristocracy sat to him as models. A strange con-
dition of' manners may be indicated by that
fact, but it is not obvious that there is any-
sitting aa a model out of pure aesthetic
emperor.
trees, is a marble bath. On a sultry day some ladies
bath, after which some are reposing, others playing
chess, and others again looking on. To the right, in
the foreground, with her back to the spectator, is a
haughty dame, clad in a bronze-colour brocade, absorbed
suggesting a move. On the pposite side of the
(FROM OUR SPECIAL CORRESPONDENT.)
There are some piotures now on exhibition in
lectual and moral advantages of painting the nude
"We will first look at these pictures, have a word or
about 40. He literally worked himself to death. He
was born at Salzburg, in 1844, and studied at Munich
in the School of Piloty. He made his first great
impression on European public opinion in 1867,
when he exhibited at the Paris Exhibition a large pic-
high prices. The " Catherine Cornaro," now at Berlin,
cost £2500. His best known works are-" Tbe Seven
LONDON, APRIL, 16.

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