DOI Heft:
No. 216 (February 1915)
DOI Artikel:Swoyer, A. E.: A collection of palettes
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.43457#0440
A Collection of Palettes
W. DE BEAUMONT
A COLLECTION OF PALETTES
BY A. E. SWOYER
About the middle of the past century
there lived in Paris one Georges Beug-
niet, an art dealer. Had Beugniet been nothing
more than a peddler of pictures this chronicle
might well end here, or at best occupy some
obscure nook in the annals of the trade. Happily
for posterity, the man gained the friendship of his
clients to such an extent that he induced practi-
cally all of them to give him the palette used by
the painter in his work, and so subtle was his
cajolery that he almost invariably obtained an
autographed sketch thereon as well.
Thus was conceived and born one of the most
unique and artistically valuable collections in the
world. That its worth was appreciated by Beug-
niet is plain from the fact that he refused numer-
ous flattering offers for its purchase. Upon his
death it fell into the hands of Georges Bernheim,
a kindred spirit, who not only maintained the
principle of the original owner, but added to the
collection until it now includes some one hundred
and twenty pieces, representing fully the art of
the period and bearing the signature of many a
world-famous colourist.
At first thought such a collection might appear
to have a value more unique than real, but as a
study of the characteristics of many celebrated
artists it stands alone. The old artist said: “If
you would become a great painter, study assidu-
ously the palettes of those who have gone before
you.” Granting the wisdom of this advice, then,
who can calculate the value to the student of such
a group of masters? But not only in the proper
use of pigments do these palettes hold their lesson,
but because of the impromptu nature of the
sketches they serve to show, perhaps, a little of
the real feeling of geniuses now dead—a feeling
often absent from the more formal productions
destined for the salons. Gazing upon them, we
behold “the bright countenance of truth in the
quiet and still air of delightful studies.”
To appreciate this more intimate touch, we see
how each donor has unconsciously and in a
moment of comparative relaxation done that
which he really liked to do, unhampered by the
bugbear of public opinion, which so often tram-
mels the true spirit of the workman. Thus
CXXI
W. DE BEAUMONT
A COLLECTION OF PALETTES
BY A. E. SWOYER
About the middle of the past century
there lived in Paris one Georges Beug-
niet, an art dealer. Had Beugniet been nothing
more than a peddler of pictures this chronicle
might well end here, or at best occupy some
obscure nook in the annals of the trade. Happily
for posterity, the man gained the friendship of his
clients to such an extent that he induced practi-
cally all of them to give him the palette used by
the painter in his work, and so subtle was his
cajolery that he almost invariably obtained an
autographed sketch thereon as well.
Thus was conceived and born one of the most
unique and artistically valuable collections in the
world. That its worth was appreciated by Beug-
niet is plain from the fact that he refused numer-
ous flattering offers for its purchase. Upon his
death it fell into the hands of Georges Bernheim,
a kindred spirit, who not only maintained the
principle of the original owner, but added to the
collection until it now includes some one hundred
and twenty pieces, representing fully the art of
the period and bearing the signature of many a
world-famous colourist.
At first thought such a collection might appear
to have a value more unique than real, but as a
study of the characteristics of many celebrated
artists it stands alone. The old artist said: “If
you would become a great painter, study assidu-
ously the palettes of those who have gone before
you.” Granting the wisdom of this advice, then,
who can calculate the value to the student of such
a group of masters? But not only in the proper
use of pigments do these palettes hold their lesson,
but because of the impromptu nature of the
sketches they serve to show, perhaps, a little of
the real feeling of geniuses now dead—a feeling
often absent from the more formal productions
destined for the salons. Gazing upon them, we
behold “the bright countenance of truth in the
quiet and still air of delightful studies.”
To appreciate this more intimate touch, we see
how each donor has unconsciously and in a
moment of comparative relaxation done that
which he really liked to do, unhampered by the
bugbear of public opinion, which so often tram-
mels the true spirit of the workman. Thus
CXXI