Summary

Elizabeth Lounsbery The Mentor: American Miniature Painters…

In the Metropolitan Museum may be seen a masterpiece of child portraiture—a little girl standing in her nightgown, caressing her doll. In this the color scheme is delicate throughout—in the tender pearly flesh and the pale blue background. In "Mother and Child," the portrait of a woman with a classic profile, dressed in red brocade with ivory white draperies over her shoulders, upholding the nude figure of a little girl with outstretched arms, is again seen a perfection of arrangement, line and fine color, and a predominating human interest that attracts by its sympathy.
Source: Gutenberg

Elizabeth Lounsbery The Mentor: American Miniature Painters…

She had understood that miniature painting was difficult and required a special talent. She was not wrong about that, but until she undertook the work she was not aware that this special talent was hers. She was delighted. Her outlook was clear and full of promise. She had a work of beauty to do and she knew that she could do it well.
People interest Miss Hills, and the picturing of people, especially young people, is a delight to her. The people she paints are very real, and they are distinct and individual. She has painted over 200 miniatures, and they are something more than portraits.
Source: Gutenberg

Elizabeth Lounsbery The Mentor: American Miniature Painters…

Her work is distinguished for its delicate grace and simple charm. The picture on the reverse side of this sheet is a portrait of a child—a very real child. The composition is beautiful in line as well as in pattern. The human interest predominates, without sacrifice of fine workmanship. It is not simply a "prettified" picture, such as we find so often in the shops and soon tire of. It is a work that attracts the painter, as well as the layman, by its sympathetic appeal.
Source: Gutenberg

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