|Jopling 1925 Quote:||'I finished my big picture, and commenced another one, which I called “The Modern Cinderella.” It was an episode in a model’s life, when she changes her clothing, taking off her artistic finery.
The model who sat to me was a very handsome girl, but she had, apparently, a rooted objection to soap and water, judging from the high-water mark that I could perceive on her pretty neck when she took off her bodice. As I painted her, she stood with her back to me, holding one arm up to a hook on the wall. In this attitude I could not see her face. My horror was great when I saw her falling, and before I could get to her she was in a dead faint.
Luckily, a jug of water was conveniently near. I was in the act of dashing some on her, when she opened her eyes.
“Oh, don’t give me any water!” she cried.
The mere sound of it was enough, evidently, to bring her round.' ;;
"The hour struck, and Lisa, my patient model, like a second Cinderella, divested of her brilliant plumage, prepared to attire herself in her own homely garments."' |
|Other Quotations:||'There are, however, in the exhibition at Burlington House some few pictures to which we may venture to draw the attention of the admirer of the highest form of pictorial art. "A Modern Cinderella" (64) is a charming little picture, somewhat in the style of the modern French school, and, with the aid of the letter-press of the catalogue, tells a pathetic tale. The patient model has just yaken off, and is hanging up, a silk dress which she has been wearing for the artist, and is about to put on her old and well-worn dress. The arms and shoulders are exposed, and though the subject can hardly be considered as an anatomical study, still Mrs. Jopling has shown enough of the nude figure to make a picture-dealer's wife declare that she could never hang such a thing in her house.' (PC bk 1, undated, 2378) 'Mrs. Jopling's "A Modern Cinderella" (64), an effective colour study of a model disrobing herself of her finery' (PC bk 1, undated, 2378) 'Mrs. Jopling, forsaking Japan and its "five o'clock teas," has achieved a genuine triumph in (64) "A Modern Cinderella" (PC bk 1, undated, 2378) '64. "A Modern Cinderella" (Mrs. Jopling), - Cleverly treated, like all Mrs. Jopling's (late Mrs. Romer's) works. Clever in this, because what might be indelicate if broadly stated in front is rendered quite harmless by being taken in reverse. In this picture Mrs. Jopling admits what hardly requires stating, that nothing is so indelicate as a half-dressed young woman; by the simple expedient of turning the girl's back to the observer her modesty and our feelings are both saved' (PC bk 1, undated, 2378) ‘Minores canamus. Here are two very nice clever pictures indeed, by two equally nice and clever artists – one a lady, the other a gentleman – whom we bracket together, as both have taken an always amusing, although somewhat threadbare, subject – that of the patient people who trot about from studio to studio for the purpose of being painted, and who are much oftener out of their clothes, or, at least, in the garments of other people than in their own. “A Modern Cinderella” (64) is by Mrs. Jopling, late Mrs. Romer, and that she is a very nice painter there can be no manner of doubt. Long since she earned considerable applause as a vigorous and appreciative portraitist: and subsequently she manifested in her “Five o’clock Tea” not only much artistic breadth and skill in composition, but considerable qualities of humour. The Modern Cinderella’s name is supposed to be Lisa; and although we are only permitted to see her back hair, and a considerable dorsal development not too oppressively draped, we are entitled to assume that she is an Italian, and facially fair to see. She is an artist’s model. She is qualified by Mrs. Romer as being “patient.” Models are professionally patient. They are always sitting on monuments and smiling at grief for so much an hour. “The hour,” according to Mrs. Romer, “struck;” and then Lisa, “like a second Cinderella, divested herself of her brilliant plumage” – it is to be supposed that Lisa had been sitting for the portrait of Anna Carafa or Mademoiselle de Montpensier – “and prepared to attire herself in her own homely garments.” This startling piece of information purports to be extracted from “Word Sketches, by an Artist” – a descendant possibly of the Immortal Anonymous who penned the “fallacies of Hope,” or a relative, haply, of that mysteries “Man of the Street” who told my Lord Echo so many wonderful things. It is surely not unjust towards a very talented lady to hint that “the Modern Cinderella” displays considerable poverty of invention; but we assure her that her picture is none the worse for its triteness of theme and its meagreness of interest…much greater praise is due to Mrs. Jopling than mere commendation for having done very well what a hundred artists have done before. Her picture is full of vigorous drawing and bright colour: and if next year she will turn Lisa round, and exhibit her countenance-we are sure it is an expressive one-we shall be ready to hail her with applause, whether she be called Cinderella, or the beggar maid that King Cophetua won, or the Queen of Sheba.’ (PC bk 1, 2377) |