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#0441
A Collection of Palettes
Willets,whose workbetrays a favouritism forposi-
tive colouring, has pictured a row of juvenile
clowns against a background in which looms a
windmill characteristic of his native Montmartre.
Eduard Detaille and Alphonse de Neuville, both
painters of battle scenes, have clung to their chosen
field; the first with a strongly drawn back view of
a cuirassier, the other with an incident of 1870.
Another warlike picture, that painted by the artist
Luminais, shows the imagination and adaptability
of the true genius, for in depicting a Gallic warrior
bellowing forth his battle-cry he has utilized the
thumb-hole of the palette to represent the widely
delicate little painting of a lace-maker at her task,
and Alfred Stevens a study of a lady reading,
elbow on table. Woman’s loveliness received the
cut direct from Roybet, however, who elected to
depict with characteristic skill the moustached fea-
tures of a cavalier; the balance is more than evened
by Jacquet’s charming female head and the danc-
ing girl of Carrier-Belleuse.
More frivolous in tone, but fully the equal of
any in beauty of treatment, is the work of the
painters of the nude. Lefebre offers a sketch of a
bathing nymph, that favourite subject of so many
artists; Boulanger, a superb figure of a Magdalen,
ROSA BONHEUR
opened mouth, with an effect both startling and
realistic.
The spirit which is threaded through the
Rubaiyat has its embodiment in the palette of
Maurice Leloir, with a charmingly drawn and
bibulous old gentleman leaning, glass and flask in
hand, against a barrel in a wine-cellar. If we
believe with Pope that “Pie best doth paint them
who doth feel them most,” then this limner must
have been an officer in the army of Bohemia!
As might be expected from the hold which fem-
inine beauty has had upon the art of all ages, the
palettes of the portrait painters and of the depict-
ers of figures predominate. Joseph Bail shows a
shielding her face in shame with one rounded arm.
De Beaumont, in venturing into an allegorical
representation of Art in the figure of a young girl
seated before a canvas with palette and mahl-stick
in hand, produced a study worthy of himself; it is
as dainty and perfect in every detail as a minia-
ture. Another allegorical figure, although one not
so striking, is the representation of Dawn by
Hebert, while last but not least in this group are
two palettes by Charles Chaplin, the one showing
the back view of a girl being especially character-
istic.
Of the animal painters, Rosa Bonheur's palette,
with its marvellously painted fox’s head standing
CXXII
Willets,whose workbetrays a favouritism forposi-
tive colouring, has pictured a row of juvenile
clowns against a background in which looms a
windmill characteristic of his native Montmartre.
Eduard Detaille and Alphonse de Neuville, both
painters of battle scenes, have clung to their chosen
field; the first with a strongly drawn back view of
a cuirassier, the other with an incident of 1870.
Another warlike picture, that painted by the artist
Luminais, shows the imagination and adaptability
of the true genius, for in depicting a Gallic warrior
bellowing forth his battle-cry he has utilized the
thumb-hole of the palette to represent the widely
delicate little painting of a lace-maker at her task,
and Alfred Stevens a study of a lady reading,
elbow on table. Woman’s loveliness received the
cut direct from Roybet, however, who elected to
depict with characteristic skill the moustached fea-
tures of a cavalier; the balance is more than evened
by Jacquet’s charming female head and the danc-
ing girl of Carrier-Belleuse.
More frivolous in tone, but fully the equal of
any in beauty of treatment, is the work of the
painters of the nude. Lefebre offers a sketch of a
bathing nymph, that favourite subject of so many
artists; Boulanger, a superb figure of a Magdalen,
ROSA BONHEUR
opened mouth, with an effect both startling and
realistic.
The spirit which is threaded through the
Rubaiyat has its embodiment in the palette of
Maurice Leloir, with a charmingly drawn and
bibulous old gentleman leaning, glass and flask in
hand, against a barrel in a wine-cellar. If we
believe with Pope that “Pie best doth paint them
who doth feel them most,” then this limner must
have been an officer in the army of Bohemia!
As might be expected from the hold which fem-
inine beauty has had upon the art of all ages, the
palettes of the portrait painters and of the depict-
ers of figures predominate. Joseph Bail shows a
shielding her face in shame with one rounded arm.
De Beaumont, in venturing into an allegorical
representation of Art in the figure of a young girl
seated before a canvas with palette and mahl-stick
in hand, produced a study worthy of himself; it is
as dainty and perfect in every detail as a minia-
ture. Another allegorical figure, although one not
so striking, is the representation of Dawn by
Hebert, while last but not least in this group are
two palettes by Charles Chaplin, the one showing
the back view of a girl being especially character-
istic.
Of the animal painters, Rosa Bonheur's palette,
with its marvellously painted fox’s head standing
CXXII