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«ЖІНОЧИЙ СВІТ» By Timothy Bordulak. THE BEGGARLY WOMAN Trans. by Olga Shustakevi “> & a certain gallery there was а- mong the newest works a picture which attracted the undivided at- tention of all the onlookers. It was the work of a young artist, created on canvas. This painting which fascinated so many people, was a picture of an old beggarly woman. But the reason it drew such interest was the fact that, being painted so skillfully, it brought out the truth- fulness of the picture and produced a sympathetic feeling toward this mpoverished woman. The people who gazed at this picture could not praise the young artist sufficiently for his wonderful worl One three people stood before this picture, admiring it. One was а man, who appeared to be quite young; another was a lady, probably the wife of the man, who was very beautiful, and who was dressed after the latest fashions; the third person was a young lady, no doubt a sister of the older woman, who was also very beautiful and equally well dressed. ‘These three stood before the paint- ing, and one could see опо thei faces that emotion expressive of wonder and delight at beholding a true work of art. summer 4 As it was the warmest part of the day there were very few people in the gallery. Upon entering, the three went directly to the painting of the beggar-woman, and the fol- i sation ensued. “Oh!” cried the beautiful lady, “one must truly have great talent to be able to paint such a wonder- ful picture and to such an illusion !” lead one into “She seems to be looking at us with such sorrowful, aged ey much as to say ‘Give me alms, in Christ's name!” added the young girl, sighing deeply. “Ah, that very thing underlies the success of the painting,” said з, аз the man with dignity. “Picture the situation in this manner, pour life into her, and then characterize her idealistic perfection. Only а true artist is able to do that, and the young artist who did this piece of work has a great future before him.” They stepped back a pace from the portrait and again fell into deep meditation. “Take into consideration that .” again spoke up the man to his companions. “The artist purpos- ly caused the sun’s rays to glow on her face so as to bring out the of her features. He purpose, be achieved his cause none of the qualities which are in the characteriza- tion of that face escape our eyes. Note with what fidelity all the features are reproduced; those old eyes, long deprived of splendor, those countless wrinkles. . . those partly opened lips, which show many old broken teeth.” “It is indeed marvelous!” cried out both ladies, “That is not all,” ап. continued the here is the matter of practice and technique. The most important point is the fact that the artist knew how to put life into the painting. Look at it with contemplation. Does reyeal misery, greater not that face hunger, and perhaps even sickness, or in one word — Life? It seems as though that old woman, with her wrinkles, and aged eyes, with her blue lips, is begging, imploring us for help; it seems tination, her with as though her des- existence depended upon our aiding her, Is it not so?” “Ah, it is inde both lad: Ї so,” cried out з again, and the one added, “At this very older moment I have a feeling of pity for her. Tt is indeed an art to make one ex- perience that emotion, “Besides, what proportion, what symmetry, lies in that picture!” continued the man. “All the colors are harmoniously placed; nothing smeared, everything is most carefully completed. In one word, true work of art! Now look with care at the center of the picture, and tell me what outstanding feature strikes your eyes.” Both ladies carefully viewed the painting but said nothing. The man pulled a card from his pocket and, rolling it up, gave it to his wife. “Glance through this tube.” His wife placed it to one eye, closed the other, and carefully sur- veyed the picture. The young lady did likewise. “Well, what do you see the man. ЧІ see her arm,” replied his wife, nd that arm seems to stand out from the rest of the picture.” " asked “Of the other arm, all one see is her bare elbow,” blushingly ап added the younger lady. “That is just what I wanted to call your attention to,” said Ше much pleased, “The arm of which only the bare elbow Ме, and which holds her and shabby coat together is пої important, but the other arm, which is stretched out begging alms, reveals the great talent of the young artist. For that arm with its wrinkles and veins shows not only that it is work done with the ut- most care, but also that its smallest details are brought out in a’ most perfective manner, thus — making that stand out, as though a flood of sunshine was passing over it; but the most important factor of all is that it runs in harmony with the face, that is, it brings out the same significance. Take one glance at the picture, in- cluding in it the face and out- stretched beggar arm агт о ої the
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