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Sight-Size Past and Present

As discussed on the History page, Sight-Size has a long and varied past. It also has a strong present.
Below you will find a random selection of articles regarding past and present Sight-Size artists,
as well as complete listings for each category.
  • It is likely that you have never heard of Archibald Standish Hartrick. That is not surprising, and I suspect that he was not as well-known in his lifetime as were many of his friends and contemporaries – Sargent and Whistler among them. Nonetheless, He made an outstanding contribution to the written record of Sight-Size.

  • Few artists of the last half of the twentieth-century had as much impact on representational art as did Richard F. Lack (1928-2009). Despite that, neither his name nor his works are as well-known as are some of his contemporaries like Andrew Wyeth. That is a shame, because were it not for him and his teacher, R. H. Ives Gammell, contemporary art would not be what it currently is today.

  • Sickert’s instructions for how to go about drawing the figure, attributed to Lord Leighton, are textbook sight-size. True enough, putting your easel eighteen feet away from the model and then standing an arm’s length away from it, results a seven to ten inch figure.

  • Leopold Seyffert studied at the Pennsylvania Academy of the Fine Arts under Thomas Anschutz, William Merritt Chase and Cecilia Beaux. In early to mid-twentieth-century America he was very much in demand as a portrait painter.

  • Sir Gerald Festus Kelly was born in London in 1879. He was educated at Eton College and Trinity Hall, Cambridge. In 1901, Gerald’s father, the Vicar of Camberwell, sent him to France to study painting.

  • Emma Nessi studied privately with Cesare Tallone, at the Brera Academy, around 1906. Not much is known about her, in English anyway, and I’d be grateful to learn of any images of her paintings, or other information.

  • [Raeburn’s] manner of taking his likenesses explains the simplicity and power of his heads. Placing his sitter on the pedestal, he looked at him from the other end of a long room . . . [then] he walked hastily up to the canvas, never looking at his sitter, and put down what he had fixed in his inner eye.

  • At age 16, Charles Wellington Furse, ARA (1868-1904) became a student of Alphonse Legros at the Slade school, London. Later, he attended the Académie Julian in Paris. He was a painter of portraits and figure subjects, lecturer and writer on art.

  • Henrietta Rae’s interest in art began at a early age. After two years of drudgery at the Queen Square School, at age 15 she began studying art in the Antique Galleries of the British Museum.

  • Gilbert Stuart was one of America’s great portrait painters. This self portrait was done while Stuart was in England, studying with another American ex-patriot painter, Benjamin West.

 
  • Sir Gerald Festus Kelly was born in London in 1879. He was educated at Eton College and Trinity Hall, Cambridge. In 1901, Gerald’s father, the Vicar of Camberwell, sent him to France to study painting.

  • Cesare Tallone studied at the Brera Academy in Milan, between 1872 and 1880. He was most well known for his portraits and he had a working friendship with Antonio Mancini.

  • Charles Hopkinson was born in 1869, in Cambridge, Massachusetts. After graduating from Harvard he began his formal artistic training at the Art Students’ League in New York. While at the ASL, he studied cast drawing under Twachtman and the figure under Mowbray.

  • Sickert’s instructions for how to go about drawing the figure, attributed to Lord Leighton, are textbook sight-size. True enough, putting your easel eighteen feet away from the model and then standing an arm’s length away from it, results a seven to ten inch figure.

  • Emma Nessi studied privately with Cesare Tallone, at the Brera Academy, around 1906. Not much is known about her, in English anyway, and I’d be grateful to learn of any images of her paintings, or other information.

  • It is likely that you have never heard of Archibald Standish Hartrick. That is not surprising, and I suspect that he was not as well-known in his lifetime as were many of his friends and contemporaries – Sargent and Whistler among them. Nonetheless, He made an outstanding contribution to the written record of Sight-Size.

  • Early on Bonnat studied in Madrid and he maintained a lifelong admiration for the Spanish artists Ribera and Velazquez. This admiration seems to have driven his approach to painting and teaching. In a preface for a biography on Velazquez he claimed that what Velazquez “sought before everything was character and truth.”

  • [Raeburn’s] manner of taking his likenesses explains the simplicity and power of his heads. Placing his sitter on the pedestal, he looked at him from the other end of a long room . . . [then] he walked hastily up to the canvas, never looking at his sitter, and put down what he had fixed in his inner eye.

  • Jules Garibaldi (Gari) Melchers, like John Singer Sargent, was one of those late nineteenth-century American painters who spent years abroad perfecting their craft and establishing their career.

  • Gilbert Stuart was one of America’s great portrait painters. This self portrait was done while Stuart was in England, studying with another American ex-patriot painter, Benjamin West.