A Spotlight on Artists’ Chinaware
The artist’s palette is the universal symbol of fine art. Artists from Rembrandt to Van Gogh have painted self-portraits palette in hand. Even the earliest recognised self-portraits featured them. Catharina van Hemessen (1548) chose to paint herself with palette and brushes in hand. Her palette as recognisable today as it was then. A talisman of art through time. It is said that a true self-portrait is not created on canvas, but on the studio palette. For is it not the selection and organisation of colours that reveal the most about an artist? A palette on canvas artfully arranged versus the palette in situ. Evidence of technique and practice.
A kidney shaped mahogany palette produced by Charles Roberson & Co
If one prefers to stick to convention there are a few things to remember when selecting a palette. Wooden palettes work better with oils, ceramic palettes with watercolours. Wooden palettes are oblong, oval or kidney-shaped. China palettes come in a greater variety of shapes and sizes. These reflect the versatility of the medium and its uses. Before chinaware, artists made use of earthenware pots or seashells.
A Victorian Winsor & Newton Japanned water colour paintbox
During the twentieth century, there was more innovation. Winsor & Newton (and others) began producing round slant and basin palettes. Created for commercial designers these palettes allowed for complex colour mixing. Yet these companies were also looking to produce a cheap and durable alternative to chinaware. In 1910 Charles Roberson was advertising aluminium palettes. By the 1960s plastic palettes had become the norm.
An antique Reeves & Sons slant palette. The Arqivist can source palettes to order.
A small palette dating from the Georgian period made from bone
The choice of palette is down to the artist and a weird and wonderful variety of items have been used. Dinner plates and paper pads can work well as there is a large area for mixing. Others have used anything at hand. Francis Bacon working in his chaotic studio even daubed the walls with a variety of colours.
A small rectangular china palette by Reeves & Sons, dating from the late 1900s
In the Georgian period, watercolour boxes contained marble, bone or ivory palettes. In the Victorian era, china palettes were the preferred material. Boxes contained saucers, flat palettes, or rectangular slabs. At the same time, Artists’ Colourmen were producing japanned paintboxes. These contained china half pans and folding flaps which doubled as palettes. Perfect for plein-air painting (rather than studio work), they would fit into a pocket or artist’s satchel. They were hardwearing and robust.
A round slant and basin palette, designed specifically for industrial designers and commercial art departments
Being mindful of the environment today, antique china palettes are the perfect antidote to cheap plastic imitations. Not only are they beautiful they are more characterful too. There are several benefits of introducing a china palette into your practice. Hardwearing (but fragile, treat your palette with care), they are not stained by paint. They are easily cleaned with soap and water. It is also worth noting that while many art shops still sell several designs of china palettes, flat palettes are no longer sold. The Arqivist's online store always contains a wide range of ceramic palettes. If there is nothing to suit we can also search to order.
