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Show "1 . ". . . . : . i Famous Painter of Pretty Girl Magazine Covers to Use Motion Pictures as Medium of Artistic Expression IPENRHYN STAN LA W S, CREATOR OF POPULAR STANLAWS GIRL,' DISCARDS DIS-CARDS CANVAS AND BRUSH IN FAVOR OF I SILVER SHEET NEW FORK, Aug. 7. If yci have the dignity and refinement of Elsie Ferguson, the dash of Dorothy DaltOU, Itho winsome grace of Mac Murray, and Uhe coquetry of HUlie Burke, you may consider yourself beautiful At least that is the dictum of Pon-rbyn Pon-rbyn 8 tan laws, noted artist, und ho certainly is In a position to know, for the beautiful girls h hui, painted a:e 'known wherever magaslne covers arc displayed. "What are tho chief requisites of feminine beauty?" Mr. Stunlaws was 'asked I "The chief requisites of feminine beauty." he replied, arc Lhe dignity 'and refinement of Iilslo Ferguson, the dash and cleverness of Dorothy Dal- I ton, the winsome grace of Mae Murray Mur-ray and the charming coquetry of Fd- ! 1 le Burke. And they can be nowhere so well as on the motion picture ( screen. Although at the height of his fame 'the creator of me famous Btanlaws girls, has given up painting und has entered motion pictures to become a director Stanlaws has Just signed a long-term contract to devote all his jtlmc to Paramount 1'letnres. and now curt be found every day In the Paramount Para-mount New York studio. Studying the new art. I AMERICAN BEAUT? COMPOSITE Asked If ho was going to create ai new type of screen beauty Just as he had created a new type of magazine girl, Mr. Stanlaws frankly admitted that ho didr.'t know He did, however, how-ever, sketch his conception of what: the Ideul type looks like. This sketch which Mr. Stanlaws calls The Para-i mount Girl," as Is Is a composite por-: trait of Blllie Burke, Dorothy Dalton,' F.lsTe Ferguson and Mae Murray, all' Paramount stars. "On magazine covers." Mr. Stanlaws Stan-laws explained. "I've only been able' to depict tho beauty of the American; girl, but I wont to go further than that I want to show where her beauty camo from and how she de-, veloped that winsome quality which! has endeared her to the whole world." Mr. Stanlaws then outlined the history his-tory of beauty. "Let us take the so-called "American "Ameri-can tvpo of beauty' as a starting point. ho began. "As a matter of tact, there is no such thing" "Tho American girl gets her beautv from all over the world. America is the molting pot, and American womanhood woman-hood la the finest product of tho International In-ternational mergence. 'The ancient Greeks developed the first tyue of beauty with which we are familiar," he continued. "It wasi a cold, qlnsslcnl type, because they were a cold, severely Intellectual ruce. with the Renaissance came the rise ot humanism, and our young lady was no longer a daughter of tne gods hi had a regular father and inothor; she was capable of having human ' motions. WHAT SHE thinks s IMPORTANT IMPOR-TANT s HER NOSE "Then vL- have the Ruben's girl fair and fat. If not forty. She had lovely skin and blond hair und was the picture of glowing vitality. But v.hen Sir Peter Lely painted Nell Gwynne and Komney followed suit with exquisite Lady Han.llton and iGrouze dlscoercd some dainty little maids with lovely piquant faces thci i first real girls were created. Here Is !thc true ancestor of the present -day I lAmrlcan girl Fast on the heels ofj du Maurler's far-fumed English glrlj jtype came Gibson, tho one und only,! (who gave the American girl a touch Of Individuality, which proved that' I while she was her Kngllah cousins c,pjal In beauty, she had a spontanlety land dash which was different Then ! Harrison Fisher arrived and Howard Chandler Christy and " "Penrhyn Stanlaws.' it was suggested. sug-gested. "Well, perhaps." he admitted. ' And ;thls Btanlaws tried to show that beauty i of form wasn't everything, that win-1 Somenes3 and charm were more Important Im-portant than classic features; that I what she might be thinking about whs more Important than the tilt of her nose. ll HE WENT INTO MOVIES. "But I couldn't say all that on tho magazine cover, so, getting back to oui mutton, that Is why I um going ,to do motion pictures" . It is a whol-ly whol-ly new- departure in the moving picture pic-ture business for an artist of Penrhyn Stanlaws' genius and fame to bo employed em-ployed as a director, and It is believed believ-ed that the Interest of such men as he will assure a far higher develop-ir. develop-ir. of the motion plctul from an Inrtlstic and technical standpoint |