THERE are a few rules of etiquette applicable to visitors to
artists' studios, which it will be well to note, the more so
because they are special, and might not suggest themselves, as a
matter of course, even to those to whom Nature presented the whole
code of etiquette when she gave them a gentle disposition.
It is not etiquette to ask an artist the price of his pictures at
sight.
If a visitor sees a painting or a piece of statuary which he
wishes to possess, he asks simply that he may have the refusal of
it; or he says to the artist: "I wish to have this picture, if it
is not disposed of." After leaving the studio, the visitor writes
and asks the price, of which he is informed by the artist, in
writing. Should the price be larger than the would-be purchaser is
disposed to give, he writes again to that effect, and it is no
breach of etiquette to name the sum which he wished to spend upon
the work of art. This gives an opportunity to the artist of
lowering his price.
It is not customary, however, to haggle about the sum, and the
correspondence should not be carried farther than above, except it
be an intimation from the artist that he will accept the terms of
the purchaser, and that the picture is subject to his order, and
will be sent to him on further instructions.
Some portrait painters have a practice which, for obvious reasons,
cannot be adopted by painters of general subjects. They have a
card hung up in a conspicuous part of the studio, showing the
price at which they will execute portraits of the sizes given. At
the bottom of this card there is generally an intimation that half
the price must be paid after the first sitting, the remainder when
the portrait is completed.
This practice saves time and trouble, and it would be well if
other artists could adopt some system whereby the price of such
paintings as they may have for sale might be made known to
visitors. But the price of a fancy picture is to be ascertained by
the artist only by what it will bring, and it is quite likely that
the wealth of the buyer, or his known admiration for good
paintings, may reasonably make a difference in the sum asked by
the artist, who might ask a lower price of a man whom he knew
could not afford so much. There is nothing wrong in this, for an
artist has as much right to get as much more than the minimum
price of his picture as anybody else has to get the best price for
his labor or his merchandise.
Portrait painting is, however, pretty much a repetition of the
same sort of work, and the artist would be the last man in the
world to admit that there could be such difference in the
execution of the work as to warrant a scale of prices in
conformity therewith.
It is not etiquette to visit the studio of an artist excepting by
special invitation, and then only at the hours he may appoint. To
go at any other time is ill-bred; for although he may be there, he
will probably be unwilling to be disturbed at his work.
It is ill-bred to take a young child to visit the studio of an
artist, as there are generally articles there of value and easily
broken or soiled; and even if the child is well trained, the owner
of such articles would be in terror lest they should be ruined.
It is excessively ill-bred to criticize harshly, in the presence
of an artist, the works displayed in his studio. Extravagant
praise is also in bad taste. A few cordial words of praise and
pleasure should, of course, be spoken, and a friend may sometimes
point out where improvements could be made; but it is a thankless
task generally, and it is in much better taste to leave all
criticism to the public journals, when the paintings are on public
exhibition.
It is against the rules of etiquette to keep an artist waiting, if
you are sitting for a portrait. His time is of value to him,
whatever yours may be to you; and it is equally rude to detain him
after the sitting is over. His politeness may hinder him from even
hinting to you that you are trespassing upon his hours for work,
though he may be fretting silently at your rudeness in so doing.
It is contrary to the rules of etiquette to look around a studio
in which you may be sitting for a portrait, unless you are invited
by an artist to do so. It is against the rules of etiquette to ask
to see an unfinished picture, even if it is one that is being
painted by your own order.
To uncover any picture or article in a studio that may be veiled
or hidden from view is extremely rude. It is equally so to turn a
picture that is hung to face the wall, or standing facing it.
Gentlemen must never smoke in a studio, unless especially invited
by the artist to do so.
To whisper in a studio is excessively ill-bred; for although you
may make a remark entirely independent of what is around you, you
may rest assured you will have the credit of having ridiculed or
censured some of the pictures you have been invited to examine.
To behave in a studio as if you were in a store, pricing pictures,
inquiring about what is for public exhibition, what is not; who
ordered this picture or that; whose portrait this or that may be;
or in any way reminding the artist that his genius is merchandise,
is rude and indelicate.
It is against the rules of etiquette to handle the pictures or
other articles in a studio.
It is extremely rude, if an artist continues his employment during
a visit to his studio, for the visitor to stand behind him, or
very near him, or in any way to seem to watch his work.