International studio — 55.1915

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1 cm
Still-Life Paintings by Sibyl Meugens

“black and white” by sibyl meugens
(In the Collection of Dr. Banis)

the harmonious effects—strangely attractive at
times—which she attains.
In these decorative panels (and the fact that she
paints upon wood may account in a measure for
the beautiful fluency of her brushwork), in the trace
of virtuosity in their arrangement and in their
exquisite colour, there are haunting memories of
many sources of inspiration; but the whole of
Mme. Meugens’ work is so transfused with the
individuality of the artist that it has a character
peculiarly its own. For several years Mme.
Meugens studied in Paris, attending the croquis
classes at Colarossi’s, but in the main she has
worked out her artistic creed unaided; and an
interesting point is the development in her art
which she feels was the outcome of three or four
years’ abstention from its practice owing to ill-
health, during which time she continued to paint
pictures in her mind, and on resuming her painting
found that the idleness of her hands had been, not
only no hindrance, but rather a help towards the
further progress and the strengthening of her
artistic powers. Mme. Meugens is a very rapid
worker and invariably carries through a painting
from start to finish without a break—it is never
put aside to be taken up and worked over on a
later occasion.

The pictures which are reproduced here formed
part of an attractive exhibition of thirty of Mme.
Meugens’ paintings shown some few months ago
at the Ryder Galleries, and these eight reproductions
give a good idea of the admiration she expresses in
her art for the artistic productions of the makers of
china, glass, and all manner of rare and beautiful
things. Especially noteworthy are the virtuosity and
skill she displays in the treatment of the multi-
farious reflections in lustre ware in such pieces as
Silver Lustre and Rose Ninon, the latter a delight-
ful scheme of black and rose colour with a string
of bright-hued beads hanging out of the bowl at
the foot of the picture. Very subtle is the colour-
scheme in The Owl Candlestick, with its harmonies
of old gold and blue and black, somewhat re-
miniscent of the dull richness of certain old
Japanese prints; and in the other pictures re-

(In the Collection of William Caine, Esq.)
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