Every evening, Wilmington daily commercial., 1922-04-17
Artists Palettes and Personalities
By Frederic J. HaAkin

washington. April 17,-PAisttes of
n number of famous artists OF the
udnsteenth century. collected By the
late George A. Lucas OF Baltimore.
are on display a tho Corcorsn Art
Gallery hsre.
Two ltttlo oblong pieces OF wood
besneared with dark dsubs OF paint.
are souvenirs OF Camills Co~ot. the
celebrated French painter OF lnnd-
scapcs. Visitors to tho collection
linger before these wooden plaques
IMAGINING how Corot must have
chosen from THEM the colorg for Some
Of ths famous woodland scenes. They
are told that ono OF thcss palettes
tho ono With a. little rod seal bearing
Corot~ signature In ono cGDer-wan
nr o,sts,s nh1nE feature OF interest ht n
French salon exhibition some years
ago. After Corot'a death. a friend
reverenfly took this poletts TO MS
studio. along with Corots pipe and one
of his picturesque red and white Nor
mandy caps worn on skccching trips.
Constant Troyon, VINO IL now re-
garded ~ tho painter who has best
Understood cows and has painted them
with the most sympathy, ~ alec rep
resented ty a palette In tho Lncas
collection. Daufiguy. Jules Breton
ofd Charles Boughton arr among the
| other veli known painters whose
paisttes were presented 20 the Amet-
| can connoisscur.
II In ar unusual collection. A paint
er;. paiett~s ordinarily srs ehcr'yhec
by his faafiily or thrown away as mere
discarded tools OF no Importance OF
| value. Ye, . pais.ts is tns Tnost PER
s6nai belonging os an artis,. II q
! perhaps too much 20 ny tnst th'
character % Tia artist rnsy be read II
/ ths paint hs srlesrs on NE palette
hut ariists say that the palette of ;
CJorot or a Mile. is lesson In IN
mans method of working. ono Oh
artist advised a pupil: III you woui'
heroine great painter s'nty as
siduousiy mo poisttea o, those m
J have gone before you"
Tho jaynnan looking az - vaieste-
. some oblong and sonns oval. but al
, more or lsss alike 20 him. s>es oni
? tho outstanding differences. Bs ls az
b trac,sd by tho large pai>tts {
> DeIacro.x on which ~ b'oos ot colo
b lare laid in n.s. rows. This was "a
! old styls way OF laying a palette, hs
81 tod Most Of the artists aoporentl
reveied In a more emotional uss {
= color. Their paiettes were presente
n 20 the collector practically as n
s srMsts eff them after sorne piece
> work, except thas fn number
e ca ses the painter cleaned on spa
n In the center and dashed of a sketc
!, Artists In Carefree Mood
l. These stud,es add greatly 20 the II
e ,e.est and valn- OF tho palsstss. Th'
o represent tho artist in a carefres mo-
+ with no thought Of painting 20 plea
/ the public or 20 make a sale 81
4. artist @ketched an fresh colors fap
y and KID fancing gsily. Another pain
ed the hoad OF Persian cat loclSil
2 out realistically from It's Sackgroul
= Of nno..Ied color. Siin another paint
ie dim landscape In sofc, dark colo
ID fading into the blurred frame
n rs.3re
N But AMONG them all, Corocs Z
H. decorated palette 70 ths sreatest a
n traction Now, when his work Drin
De fabulous sums end when his pale'
J. Is -reasured ass priceless souven
80 Il IL difficult 20 imagine that =
L. French painter was for years una
Ut preciated by the art world. Al
s. salons his pictures were badly mn
be 60 that the light was either too giArl
a o. too dim tor the picture 10 attr'
be any attention Once. the artist tr
ed stand ng In front OF hi5 nesiec
IS WORK. landscape chat would DIR
crowds ~ any exh bitioI now.
ur reasoned that IL someons appeared
DO interested IN rhs picture. 9th
US vou d be attracted 70 come and i