File:Henri Adrien Tanoux, French painter.jpg

Identifier: scribnersmagazin16newy (find matches)
Title: Scribner's magazine
Year: 1887 (1880s)
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Publisher: New York : C. Scribner's Sons
Contributing Library: Robarts - University of Toronto
Digitizing Sponsor: University of Toronto

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enceof the new impressionist school is verymanifest, particularly in the endeavorto combine color and hght, which re-sults in a ci*udity very difficult to avoid.There is, however, no trace of this cini-dity in his portraits, which are, as a i*ule,both quiet in color and paiuted withgreat teclmical sanity and sobriety, asif the artist had no other aim than todo justice to his subject without paus-ing to consider whether his technicalmethods were according to recent fash-ions or traditional and so liable to becondemned as obsolete by the newestlittle coterie in critici.sm. The por-traits are of the most opposite charac-ter, and perhaps the reader will seefrom the variety in The Three NVaifs *that the painter can observe great dif-ferences in people who may be placedin exactly the same situation and be-long to the same class or to no class.There is often in portrait-painters astrong tendency to specialty as to so-cial rank. We all know the aristocraticpainter who makes it his business to
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Adrien Henri Tanoux. give an air of higli breeding to his sit-ters, and of late we have become ac-quainted with the democratic portrait-painter who professes to exhibit themiddle-class citizen as he is. M. Tan-oux does not appear to have any pref-erences of this kind. If the sitter is an officer and a gentleman he will be reflected in that character on thecanvas ; if he is not more fashionablethan The Three Waifs, M. Tanouxwill certainly not disdain him, but willfind something interesting in him as heis and not miss what is essential in hisnature by lending a refinement thatdoes not really belong to him.

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