To the Editor:

Thank you for the excellent article by Matt Hurwitz on the new "Twilight Zone" DVDs and Marc Scott Zicree's "Twilight Zone Companion" ["Shadows & Delight: Serling's Lingering 'Twilight,' " May 29].

The Rod Serling Memorial Foundation is lobbying the Citizens' Stamp Advisory Committee to place Rod Serling on a U.S. postage stamp. Surely for this major American writer who not only added "Twilight Zone" to our lexicon but also taught many fledgling writers and created screenplays such as "Requiem for a Heavyweight," "Patterns," "Seven Days in May" and "Planet of the Apes," it is "time enough at last" to recognize his considerable contributions with a stamp.

Elizabeth Foxwell

Alexandria

To the Editor:

After seeing the magnificent collection of Stuart portraits at the National Gallery of Art, I can only agree with the view of Blake Gopnik ["Portrait Capital," Sunday Arts, May 29] that the present portrait artists represent no more than flattering photographic art with all of the blemishes removed from their subjects. The honest and not very flattering Stuart portraits, as well as those of the great English painters of that era, have been replaced by less than accurate portraits of our present great and near-great politicians and public figures.

Unfortunately for the art of painting, the new parallel to the 18th- and 19th-century paintings are the photographs by major practitioners of that discipline who accurately portray their subjects, warts and all.

The fault is not with our present portrait painters but with their subjects who insist, by threat of rejection of the painting, on picturing the ideal and not the real.

Nelson Marans

Silver Spring

Letters should be sent to: Arts Editor, Style Section, The Washington Post, 1150 15th St. NW, Washington, D.C. 20071. E-mail should be sent to Arts@washpost.com. Please include daytime and nighttime phone numbers and an address. Letters may be edited for length and clarity.

A detail from Gilbert Stuart's portrait of John Adams reflects an honesty that no longer exists among contemporary painters, who tend to flatter.