THE COURIER
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men the editor made out a check for W the boy felt as if he had
jobed the man.
This was the beginning, and all the world knows the rest.
A.11 Mr. Gibson's work is done from models. Occassionally he
sketches in some friend, but his figures are for the most part from
professional models. Mrs. Minnie Clark is his chief model, and she
is a most interesting young person. Her portrait at the great loan
exhibition at the Academy of Design was more widely admired than
any of the others. She is a professional and is acknowledged by ar
tists to be the queen of head models in this country. She
is an Irish woman 28 years old and a widow. She is tall
and graceful and beautiful, with a slender plumpness, and much
charm of expression. Mr. William M. Chase, the artist, says of her:
"She possesses a beauty I seldom find. Her coloring is not as won
derful as that of many other models who pose for me, but there is
something very suggestive about the lines of her face and the way
in which her hair grows about her forehead. I never paint her lit
erally, but always idealize her most imperfect features.'
When New York artists were preparing their work for the World's
Fair competition Mrs. Clark was in greater demand than any other
model. When it came to finishing pictures and pieces of statuary,
artists found themselves at a loss for good head models. There were
hundreds willing and ready to pose a la Trilby for "the altogether,
but the difficulty was to get good faces; faces that would be thought
beautiful hundreds of years from now.
Mrs. Clark always refused to pose for the figure, and in conse
quence artists had other women pose for the different portions of the
body, and had Mrs. Clark sit for the head. The most celebrated
piece of work that she ever posed for was the statute of the "Re
public,' that went to Chicago, and which now stands guard over
the basin of the ruined Court of Honor of the White City. Another
celebrated statute for the head of which Mrs. Clark posed is Daniel
French's figure of "Death."
But these ere merely side issues with Mrs. Clark; her chief work
has been for Mr. Gibson, and through all the years of his success
she has played the principal parts in his salons of beautiful women.
He draws her face almost true to nature, with its ripe, rich mouth,
its level brows, and soft growing hair. He has trunks full of beauti
ful frocks in which ho dresses her, and she knows how to wear them
with the chic that is inborn and never taught. Her throat and
shoulders are very beautiful and she carries herself superbly.
In the pictures of ''The American Girl Abroad," recently publish
ed in Life and now on exhibition, Mrs. Clark is drawn like a portrait
and any one once seeing her could easily recognize the likeness,
especially in the one where H. R. N. the Duke of Sloppy Weather is
taking her tut to dinner.
When Mr. Gibson went to Paris a year ago he accquired a new
model known as Mile. Susanne. It is easy to recognize her in his
drawings, for she is so different from MrsClark's statesque loveli
ness. She is a little Parisian who studied for the stage, and then
took to the anteliers. She is a very winsome little being, and Mr.
Hood's and Only Hood's.
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Gibson brought her to this country. Sho is slight in figure, and is
22 years old. The most remarkable feature about her face is the
width between her eyes. To the inartistic they seem too far apart,
but Mr. Gibson daclares they are perfect. They are a peculiar
brown in color, the iris seeming to be edged with a rim of black.
The eyebrows aro arcVed, and the eyelashes suggest the eyes having
been rubbed in with a smutty finger.
Nearly all of Mr. Gibson's Paris.Bkotches contain this charming
face, with the dark hair parted and drawn down over the ears in
bandeaux.
Little Susanne is considered a particularly successful model be
cause of her sympathetic disposition. Studying for the stage helps
her to assume the expression and pose necessary for any character.
Mr. Gibson tells her the story of the picture ho is drawing, and she,
in her intense sympathy and dramatic imagination, looks the part
at once without being conscious of any effort.
One of the best pictures in which Susanne appears represents her
in a robe of black as a widow contemplating a second marriage. She
is crouching on the floor beside a huge divan, on which are scattered
old love letters and faded flowers. In a chair sits Cupid, with his
dimpled arms folded and on its saucy face a smile so jubilant that
it is almost sardonic. The girl's face is drawn and weary and thero
are tears on her cheeks. When asked if imigination supplied the
tears Mr. Gibson answered: "Not in the least. Susanne was so
carried away with the idea that sh? was crying like a bona-Hdo
widow."
The model of Bishop Gullem, the cheerful, worldly prelate, who
appears so frequently in Mr. Gibson's cartoons, is the artist himself.
By stretching his lips ho produces the characteristic appearance of
the bishop's mouth. The wrinkles and bald head are supplied from
imagination. r
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