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diff --git a/39286-8.txt b/39286-8.txt new file mode 100644 index 0000000..d21d342 --- /dev/null +++ b/39286-8.txt @@ -0,0 +1,2198 @@ +The Project Gutenberg EBook of Colour as a Means of Art, by Frank Howard + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org/license + + +Title: Colour as a Means of Art + Being an Adaption of the Experience of Professors to the + Practice of Amatures + +Author: Frank Howard + +Release Date: March 28, 2012 [EBook #39286] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK COLOUR AS A MEANS OF ART *** + + + + +Produced by Chris Curnow and the Online Distributed +Proofreading Team at http://www.pgdp.net (This file was +produced from images generously made available by The +Internet Archive) + + + + + + +COLOUR. + +Entered at Stationers' Hall. + +[Illustration: SUNSET] + + + +COLOUR AS A MEANS OF ART: + +BEING AN ADAPTATION OF THE EXPERIENCE OF +PROFESSORS TO THE PRACTICE OF AMATEURS. + + +BY FRANK HOWARD, +AUTHOR OF "THE SKETCHER'S MANUAL," +"THE SPIRIT OF SHAKSPEARE," &c. + + +LONDON: +HENRY G. BOHN, YORK STREET, COVENT GARDEN. +MDCCCXLIX. + + + + Dedication + TO + SIR AUGUSTUS WALL CALLCOTT, R.A. + &c. &c. &c. + + DEAR SIR, + + The endeavour of the present work is to fix and develope, for + the benefit of the Amateur and the Student, some of the + acknowledged general principles of Colouring as a means of Art, + without reference to the purposes to which such Art shall be + applied,--without reference to poetical expression or character, + or to the imitation of the details of Nature, which are + requisite for the production of great works. + + And I have much pleasure in being permitted to dedicate it to + you, who have so recently shown that the capability to execute + in the higher walks of Art does not depend, as is erroneously + supposed, upon mechanical skill attained by constant practice + and devotion to one class of subjects; but upon intellectual + qualifications and mental refinement, which has ever been + conspicuous in your treatment of the subjects generally adorned + by your pencil. + + I have the honour to remain, + Your obedient Servant, + Frank Howard. + + + + +CONTENTS. + + + PAGE + +PREFACE V + +INTRODUCTION 17 + + +CHAPTER I. + +COLOURING AS A MEANS OF ART 25 + + _Section 1._--HARMONY 27 + + _Section 2._--TONE 31 + + +CHAPTER II. + +RULES FOR PRODUCING PICTURES IN COLOUR 35 + + _Section 1._--CUYP'S PRINCIPLE 39 + + _Section 2._--BOTH'S PRINCIPLE 41 + + _Section 3._--HOBBIMA AND RUYSDAEL'S PRINCIPLES 43 + + _Section 4._--TENIERS AND OSTADE'S PRINCIPLES 45 + + _Section 5._--THE PRINCIPLES OF TITIAN AND THE VENETIAN SCHOOL 47 + + _Section 6._--LUDOVICO CARACCI'S PRINCIPLE 49 + + _Section 7._--ANOTHER PRINCIPLE OF TITIAN 51 + + _Section 8._--RUBEN'S PRINCIPLE 53 + + _Section 9._--TURNER'S PRINCIPLE 55 + +_Section 10._--ANOTHER PRINCIPLE OF TURNER 57 + +_Section 11._--MODERN MANNER 59 + +_Section 12._--ABSTRACT PRINCIPLES TO WHICH THESE + ARRANGEMENTS MAY BE REFERRED 61 + + +CHAPTER III. + +FINE COLOURING 69 + + _Section 1._--PRINCIPLES OF COLOURING OBJECTS 71 + + _Section 2._--COLOURS OF LIGHTS AND SHADOWS 99 + + _Section 3._--SUNSHINE 101 + + _Section 4._--SUNSET 103 + + _Section 5._--MOONLIGHT 105 + + _Section 6._--GREY DAYLIGHT 107 + + + + +LIST OF PLATES. + + +FRONTISPIECE. SUNSET. (to face Title page.) + + PAGE + + 1. CUYP'S PRINCIPLE 39 + + 2. BOTH'S PRINCIPLE 41 + + 3. RUYSDAEL AND HOBBIMA'S PRINCIPLE 43 + + 4. TENIER'S AND OSTADE'S PRINCIPLE 45 + + 5. TITIAN AND THE VENETIAN SCHOOL 47 + + 6. LUDOVICO CARACCI'S PRINCIPLE 49 + + 7. ANOTHER PRINCIPLE OF TITIAN 51 + + 8. RUBEN'S PRINCIPLE 53 + + 9. TURNER'S PRINCIPLE 55 + +10. ANOTHER PRINCIPLE OF TURNER 57 + +11. MODERN MANNER 59 + +12. THE NERI 88 + +13. THE BIANCHI 93 + +14. THE DUTCH SCHOOL 94 + +15. SUNSHINE 101 + +16. MOONLIGHT 105 + +17. GREY DAYLIGHT 107 + + + + +PREFACE. + + +In the Sketcher's Manual, the general principles of making pictures in +black and white, or, as it is technically termed, in Chiaroscuro, have +been briefly, but it is hoped distinctly, explained. The following +work on Colouring proceeds upon the same method. It treats first of +the arrangements of masses of colours which have been established +by various masters or schools, and which have been recognized as +satisfactory or agreeable by the public voice; it then points out +the abstract principles to which these several arrangements may be +referred; and finally directs attention to the qualities of Colouring +in Art which are requisite as regards the imitation of Nature. It does +not profess to descend to details, for these require a considerable +advance in the Art, and consequently could not possibly be rendered +intelligible in any publication, because they would require the +exercise of first-rate powers, to colour every individual impression +of the plates. For examples of the details of colouring, the Amateur +and the Student must be referred to the best pictures of the several +masters whose general principles are herein exhibited. But it should +be observed, that although the several masters, whose names have been +brought forward in the present work, and in the Sketcher's Manual, as +the originators of the several principles of Chiaroscuro and Colour, +are generally distinguished by some exercise of the principles to +which their names are attached, they have produced many and valuable +works in other and very different styles. It is not intended to imply +that all the works of these masters are constructed upon the same +principles; still less is it intended to imply that the principal +merit of these masters resides in the particular principle of +picture-making, which they have mainly, if not entirely, contributed +to develope; for this would reduce the art of painting to a +"mechanical trade," or mere means of gratifying the eye. Least of all +has it been intended to afford to critics a means of attack upon the +modern masters, whose names have been introduced into these little +works, as "painters of pictures on receipt, or on a principle of +manufacture." The development of a new principle of Art, whether +relating to Composition, Chiaroscuro, or Colour, is as meritorious +and worthy of distinction as, if not more so than, the production +of an able work upon the principles of Art previously established +by others. + +The author is fully sensible that _he_ must submit to criticism with +respect to whatever he may place before the public; nor is he in the +least disposed to complain of any censure of the _matter contained_ in +the works, or of the _manner_ in which that matter is placed before +the public. He can even afford to smile at the criticism that a work +addressed to the AMATEUR and the STUDENT on Picture-making in +Chiaroscuro, "will not make a Raffaelle or a Titian," particularly as +the great merit of the latter was colouring; and he may observe that +he does not expect that even the present work, which is solely devoted +to colouring, "will make a Titian." It will be sufficient if he shall +have placed in a tangible shape before the reader _some_ of the +principles by which the effects of Colouring, and light and shade have +been made, by certain masters, subservient to higher purposes;--the +Art is but the means to an end. But the author feels that he has a +right to complain of a criticism of his work, in which the _censures_ +of the _critic_ upon _third_ parties are made to appear to have +proceeded from the author; and he now begs to disclaim having said +anything disrespectful either of Mr. Stanfield or Mr. Roberts, either +directly or indirectly, as will be evident upon the inspection of the +Sketcher's Manual. + +And the author feels it necessary to remove an erroneous impression +with respect to the nature and intention of these works, by stating, +that they are expressly intended for the Amateur or the Beginner in +Art; that they are not intended to be argumentative or controversial; +nor are any matters introduced that require the support of argument, +evidence, or authority, although these could easily be adduced, if +requisite; but the desire of the author has been to lay before the +Amateur such principles of Art as have received the sanction of years, +and are universally appreciated by the public in their effects: and +the only merit claimed is that of having brought them together in such +a form as to distinguish them clearly; and to render the principles as +evident as possible. But there is no pretension of limiting the whole +Art of Colouring to the principles of Colouring contained herein. + +For the method in which the plates of the present work have been +executed, I am indebted to a recent improvement in Lithography, made +by Mr. Hullmandell. It is capable of producing more nearly the effects +of painting than any other style of engraving; but from these plates +professing only to represent masses of Colour and general tone, and +being the first that have been attempted in this particular +application, they are not calculated to display Mr. Hullmandell's +improvement to advantage. + + + + +INTRODUCTION. + + +Sir Joshua Reynolds in one of his Discourses has stated, that the +Edifice of Art has been gradually raised by the contributions of the +great men of past ages, and that although every addition to knowledge +required the exertion of a mind far in advance of its contemporaries +to effect it, the results have now become the common property of all +artists, and may easily be appropriated by every Student--"that much +may now be taught, which it required vast genius to discover." + +It will not be necessary to adduce any argument in support of this +proposition. The difference of opinion will principally refer to "what +part can be taught?" And hereon there have been as great divisions and +disputes as have arisen with regard to the part of the pig that was +forbidden to be eaten by the followers of Mahomet; only it should be +observed that the discussions have terminated in an almost opposite +result; for whereas the whole pig was eaten, scarcely any of the Art +has been taught. + +Numerous works have been published and numerous methods of instruction +adopted; but they are almost all directed to points of mechanical +execution, or the representation of individual objects, which mainly +depend upon skill. + +Skill is the natural result of practice or fortunate organization, and +will, of course, differ with the perseverance or capacity of the +student, which has led to the persuasion that the productions of Art +are dependent upon what is called natural genius. + +But what is _known_ of Art may be as easily communicated as any other +fact, and as easily acquired as a knowledge of history, or any other +appeal to the memory, and is indispensable equally to the critic and +to the amateur. On this subject there are few if any works; and it is +rarely touched by professed teachers of the Art. + +The method of private tuition at present in favour is, to make a +drawing before the pupil, who is expected to appreciate the course of +proceeding, and to imitate the effect. + +Watching a drawing thus in progress, it will be observed that the +greater part is done apparently without a thought; it appears to be +literally at the "fingers' ends" of the artist: and this will be found +to comprehend much, it not all that confers the effect of a picture. +But in what does this consist? Repeated practice, and continued study +of works of art, will undoubtedly, _in time_, bring it to the +"fingers' ends" of the student also, and it will insensibly become an +inexplicable habit, manner or style. But this is, in fact, what may be +taught or communicated in a short time; it is the knowledge resulting +from the experience of ages,--the edifice built up of discoveries from +time to time contributed to the fund of Art by the success and +failures of our predecessors. This is the _knowledge_ or science of +painting, which should precede all practice or attainment of skill, +and such portion as relates to colouring, it is the intention of the +present work to supply. Skill will follow as a result of the endeavour +to make use of the means to produce the end--Pictures. + +There has been, unfortunately, so great confusion in the use of the +terms applicable to Colours, that it becomes difficult to convey any +distinct information respecting them, without hazarding the charge of +pedantry by limiting the signification of certain words. Tints, Tones, +and Shades of Colour have been, and still are, too commonly used so +indiscriminately to mean the same and different things, that no +definite impression can be given, unless there exist a previous +knowledge of the mode in which each word is applied. It will, +therefore, be necessary to explain the meanings with which each word +will be used in the present work. + +TINTS are those specific and definite qualities of colours, by which +the individuals of a class are distinguished from each other: as of +Reds; Scarlet, Crimson, Pink, Rose-colour, &c.: of Greens; +Apple-green, Olive-green, Pea-green, &c.: of Yellows; Straw-colour, +Amber, &c.: of Blues; Sky-blue, Garter-blue, Indigo, &c. + +SHADES OF COLOUR imply the degree of brilliancy or depth, as bright or +deep Crimson; light or dark Blue. + +TONES OF COLOUR are of more general application, as indicating the +general aspect of classes of Tints or Shades; and especially +designating the degree of warmth or coldness: as cool greens, warm +greys. There may be lighter and darker _Shades_ of the same TONE, but +not of the same TINT. Rose-colour and Crimson may be said to be +lighter and darker shades of the same _Tone_. + +The word Tone is also used by itself in opposition to crudity or +rawness of colour; and hence is technically descriptive of the ternary +compounds, of whatever tint or shade; while the primary colours and +the binary compounds, Blue, Red and Yellow, and Purple, Orange and +Green, are technically distinguished as Colour. The lighter shades of +Tone in this sense are technically included under the term _Greys_; +warm, as they contain Orange; cool, as they contain Purple or Green. +Tints and Tones are further classed as _pure_, as they approach +purple, and those tints observed in Mother of Pearl, hence, also +pearly tints; warm or hot as they approach Orange; heavy, and unless +they are exceedingly transparent, muddy, as they approach Green. + +HALF-TINTS express those gradations of _colour_, and HALF-LIGHTS +those gradations of _light_, between the greatest brilliancy and the +shadows. + +Colours are said to be SUPPORTED by others which present some +resemblance, but are inferior in brilliancy; as blues by purples, +crimsons by reddish-browns, yellows by orange: + +--CONTRASTED by those which are the most opposite, as blues by orange +or browns, reds by green, yellows by purples: + +--BALANCED when by opposition they are so neutralized that no one +appears principal or predominant. + +The author of a recent publication on Colour is quite in error, when, +in describing technical terms, he states "the Balance of Colouring is +the harmony produced by _supporting_ one colour by _another_ +introduced in _different parts_ of the picture, either _of the same +colour_, or one approaching to it." This is SPREADING _a colour_ +THROUGH the picture, and though it may _contribute_ to the balance of +colouring by _contrasting_ and _neutralizing_ the _other_ colours in +the work, it is in itself the very opposite of the _balance_ of +_colouring_, as it consists entirely in loading one side of the beam. +To this it may be added that colours are said to be SUPPORTED by +similar tints _adjacent_, and ECHOED by them when "in different parts +of the picture." + +There are many other errors in the book above-mentioned, but as this +is not intended to be a controversial disquisition, those mistakes +only will be noticed which might otherwise lead to confusion; but to +the correction. + +The definition of "MELLOWNESS," as "caused by those warm colours +which, when blended, produce an agreeable _tone_ or _hue_, and would +then be said to _sympathize_ and create _harmony_," is as incorrect +and indefinite, as the remainder of the paragraph is without +foundation:--"On the contrary, if, in mixing two or more colours, a +disagreeable and harsh effect were produced, they would be said to +have an _antipathy_, and create _rawness_--this adulteration of one +colour by another causes what painters term a MUDDY effect." Painters +term an effect _muddy_ when it is dirty in colour and wanting in +transparency. This fancy respecting the sympathy and antipathy of +certain colours, which is more distinctly alluded to in the following +passage:--"when, to produce a particular tint, the mixing of two +colours which do not sympathize is unavoidable; one or more may be +introduced whose sympathy is greater, that a pleasing and harmonious +effect may be produced, &c."--this is wholly groundless. How the +sympathy and antipathy alluded to are supposed to act is not very +evident, but they have no existence whatever. + +The definition of a "PEARLY HUE," as "obtained by softening or +blending the _warm_ colours without adulterating one with the other," +is equally liable to objection as untrue. + +The attempt at a philosophical account of the _cause_ of the colours +produced at sunset and sunrise, has been incidentally exposed in the +third chapter of the present work. This error undoubtedly does not +originate with the professed author of the publication alluded to; and +as the greater part of the book is evidently, though without +acknowledgment, compiled from Mr. Burnett and other writers on the +subject, the other errors are probably in a great measure also the +result of compilation. + + + + +CHAPTER I. + +COLOURING AS A MEANS OF ART. + + +Colouring is the decorative part of Art. It answers to Rhythm and +Rhyme in poetry, as the means of attracting the senses. As it is a +means of producing, so its indispensable qualification is,--BEAUTY. In +the higher aims of Art it should be made subservient to Character and +Expression, by according with the nature of the subject; but, still +under the limitation and regulation of those principles which govern +Pictorial Effect. Under all circumstances, and to whatsoever purposes +applied, the first qualification of Colouring as a means of Art is, +that it should produce a Picture. + +A picture has been elsewhere defined as an arrangement of one or more +objects and accessories so as to afford an agreeable subject of +Contemplation. And the principles which regulate Chiaroscuro and +general arrangement for this purpose, have been pointed out. The same +principles must regulate Colouring as a means of Art. + +The mere representation of any object, however accurately detailed and +coloured, does not constitute a picture. It must be represented with +accessories and under Pictorial Effect. This as regards Chiaroscuro +has been shown to depend upon Breadth. As regards Colouring it depends +upon Harmony. + + +CHAPTER I. + +SECTION I. + +HARMONY. + +Harmony is a term borrowed from the sister Art of Music, to denote a +degree of relation or congruity between two or more colours, so as +mutually to support or develope each other's beauties, as is the case +with a chord or concord of sounds. The degrees of relation, or +qualification for harmony, of sounds, can be ascertained by +mathematical calculation incapable of erroneous results. Not so, those +of Colours; at least in the present state of the science of Optics. If +it should be proved that colours are the effect of vibrations of the +air, or any other fluid, as are sounds, the Harmony of Colours may +equally become the subject of mathematical calculation, with equally +certain results; at present we cannot go beyond rude approximations by +guess or supposition; and are vaguely placed under the regulation of +_Taste_, itself as Protean and undefined. + +The theory of the three or seven colours being all equally necessary +to each other, which has been derived from the division of the ray of +light by a prism, has been supposed to afford the relative proportions +of the various tints necessary to Harmony in a picture, _because +existing in light_; and fanciful, but entirely unfounded, analogies +have been drawn by enthusiasts between the seven colours and the seven +notes, and the three colours and the notes of the common chord in +music: but without going into the question of how far this would be +likely to assist in our present inquiry, _if true_, it may be +sufficient to observe that these relative proportions _vary_ with the +substance of the prism by means of which the ray of light is divided; +so that the whole induction falls to the ground. + +But were the proportions always the same, the induction would be +equally untenable. For, though light may be very beautiful; and the +Rainbow may be very beautiful; a totally different kind of beauty is +required for a picture. The colours of the Rainbow may perfectly +harmonize; but it is more than doubtful whether the person whose whole +picture was a representation of a Rainbow, would be considered to have +produced a finely coloured work of Art. + +Harmony, in Pictorial Colour, does not depend upon any particular +proportionate quantities of the different tints; nor in any particular +disposition or arrangement of them; but upon the qualities and the +treatment of the individual colours. A picture may be painted with +every variety of the most brilliant colours; or, on the other hand, as +Rembrandt treated light, the work may contain only one small spark of +colour, the remainder being made up of neutral tints; and even the +small spark of colour may be dispensed with, and the whole picture be +made up of a variety of tones. + +Having dwelt so much in the Sketcher's Manual, upon the principle of +Breadth being indispensable for the production of Pictorial Effect, it +will scarcely be requisite to point out that it is equally necessary +that Colours should be so treated as to produce _Unity_; and that, as +with lights and shadows, so whatever variety of tints may be +introduced into a picture, they must be so blended and incorporated +with each other, that they still form parts of a whole;--that whether +the lights be white, and the shadows black, or differently coloured, +the same necessity for graduation remains; so that Colours must not be +in flat patches. And in the treatment of Colours, besides the +graduation requisite for Breadth of Chiaroscuro, it is necessary to +pay attention to the peculiar quality termed TONE, which is +indispensable in a coloured Work of Art. + +As well as Breadth of Chiaroscuro, there must be BREADTH OF TONE, the +fundamental quality of Harmony. + + +CHAPTER I. + +SECTION II. + +TONE. + +This is a term also borrowed from the vocabulary of Music, to denote a +property or quality of Colour, the opposite of gaudiness or harshness; +and implies a richness or sobriety, inviting quiet contemplation. It +confers what is technically termed _repose_. It bears that relation to +colours in general, that the quality of a musical note does to that of +an unmusical sound or mere noise. In Music, this is known to depend +upon the vibrations of the air being _isochronous_, or at regular +intervals. Should it be discovered that Colours are also produced by +vibrations, Tone in its present application may prove to arise from a +similar regularity. + +Tone implies a degree of transparency, which in Oil colours is +attainable with great facility, by a process termed _glazing_; viz. +passing a transparent colour over a previously prepared tint. There +are also some other practical methods of producing it, which are more +advisable in certain cases, but which need not be further noticed +here. In Water colours, the greater number of pigments used are +transparent, and the legitimate method of using them proceeds upon the +principle of working entirely in transparent media; which has, at all +times, excited great hopes with regard to that branch of Art, as +affording a better means than Oil colours (in which the light tints +are all composed with opaque white) of producing the brilliancy and +truth of Nature, in combination with the transparency (tone) which is +required in a work of Art. And it is to be regretted, that in some +few, and those popular instances, this advantage arising out of the +legitimate use of Water colours, should have been thrown away, without +obtaining any equivalent, other than that of hiding or correcting +blunders; and that attempts should have been made, by the use of +opaque body colours, and a similar method of working, to imitate the +effect of Oil painting. The progress of the true art of Water-colour +drawing, must necessarily receive a check from the adoption of such a +practice, which will doubtless be sanctioned by the idle or the +hurried; and attempts to carry out the original prospects and genuine +advantages of the transparent medium, will probably become rare, if +they should not cease entirely. + +It is true that opaque Water-colours are supposed to have an advantage +over Oil-colours, in light and brilliant parts, in consequence of the +tendency of the Oil (the _vehicle_, as it is technically termed) to +come to the surface, and thus to give a tinge to, or obscure, the +purer tints of skies and distant brilliant objects. On this account, +they are said to be used by Turner in these parts, when he desires to +attain great clearness and purity of colour. But, however, the _union_ +of Water-colours with Oil may be advantageous for these purposes, and +thus _Opaque_ Water-colours may receive a partial sanction; it cannot +be denied that, in the instances previously alluded to, in which the +Opaque Water-colours are used for no other purpose than the facility +of recovering half-tints that had been too much obscured, the only +advantage of Water-colours is abandoned, without obtaining the +equivalent of _richness_, arising from texture in Oil; and the purity +of the one art is lost, without attaining the force of the other. A +crumbly, bungling appearance is produced, and for no reason, as the +practice can never be successfully employed in the parts or objects, +in which the use of semi-transparent colours is so invaluable in Oil. +And in fact, Opacity, the reverse of what is desired, Tone, is +produced by the very same means in Water-colours, by which +transparency is attained in Oil. + +Breadth of Tone is obtained by a process termed _breaking the +colours_, which is the same with the method of incorporating lights +with each other, described in the Sketcher's Manual; viz. graduating +each tint into those adjacent, by which means a certain degree of +affinity is diffused throughout the whole picture, and Harmony, or +Breadth of Tone, is produced. The same results are effected, by a +process perhaps abused in the present day, termed Glazing, which +consists in passing some transparent pigment of the tone desired, over +the whole picture, and thus breaking all the tints in the work with +the same colour which produces the affinity required. + + + + +CHAPTER II. + +RULES FOR PRODUCING PICTURES IN COLOUR. + + +Although Harmony or Pictorial Colouring does not _depend_ upon any +_particular_ quantities or arrangement of _particular_ tints, as the +slightest consideration of the infinite variety of Pictures that have +been produced will prove; certain quantities and arrangements of +certain colours, have been found to effect it. + +These discoveries have been made from time to time, and have each been +adopted as principles by different artists; and though admitting of +considerable variation in details, their effects have been so +evidently distinguished by the public as uniform in general aspect, +that they have been ranged in classes or schools, to one of which any +individual work is instantly referred, by those who have even a slight +acquaintance with the Art. + +By _writers_ upon Art it has been very generally contended, that there +_must_ be a balance of warm and cold colours. A little consideration +will show, that this, as well as _all_ restrictive regulations, such +as that blue must not come in the front of the picture, &c. are +unfounded, or nearly the whole of the Dutch school of landscape and +interiors must be condemned as wanting in Harmony, or bad colourists; +for Ruysdael and Hobbima, Teniers and Ostade, seem to have had a +horror of warm colours, while, on the other hand, Cuyp and Both seem +to have had an equal dread of cool tints. That a balance of warm and +cold colour is _one_ principle by which Pictorial Harmony may be +obtained, is perfectly true; and that there are various means of +balancing them is also true; which affords numerous varieties of style +or character of pictures. And that the principle deduced by Sir Joshua +Reynolds from the Venetian school, that one-third of the picture +should (may) be cool, and the remaining two-thirds warm, is also just; +and will be productive of beautiful results. The error consists in +making these relative proportions _indispensable_ to Harmony. + +This chapter will contain such principles as have been found to ensure +Harmony. There may, perhaps, be many others in store for future +discovery. + +These principles are of universal application, whatever objects may be +the subject of the drawing or picture, whether landscape, figures, +animals, flowers, or altogether; and they are wholly independent of +Poetical or Dramatic colouring,--the application of colour to +Expression and Character,--and of the colouring of individual objects. + +The art of composition, in regard to colour, consists in arranging +objects in such a manner, that their true colouring will produce the +combination required by the principle adopted. The art of too many of +the artists of the present day, consists in introducing the colours +required, without any reference to their being found in nature or not. + +[Illustration: CUYP'S PRINCIPLE] + + +CHAPTER II. + +SECTION I. + +CUYP'S PRINCIPLE. + +The simplest arrangement and treatment of Colours will be found in the +style of Cuyp and Both; objects in shadow are relieved against a warm +sunny sky. For the reasons given in the Sketcher's Manual, with regard +to Progressive Execution, these are the best adapted to beginners; +objects in shadow do not present much variety of tint. + +The whole aspect or general tone of the picture is warm. The shadows +are cooler than the lights, but very far from cold; being of a Sepia +brown, and sometimes warmer, with some cool reflections from the air. +The sky is gently graduated from a rich yellow to the most delicate +warm grey. The middle ground affords some blackish-green half-tints or +shadows; and some golden lights are introduced in front. + +Cuyp treated figures, animals, and boats in this way. The points +requiring attention and care are, first, the tone of the sky and +yellow lights, which must be obtained from yellow and Roman ochres; +the sky should have a creamy quality of colour; and what little grey +is introduced, must be Cobalt Blue, or Ultramarine with Carmine, or +Lake, so as to prevent the slightest appearance of green; secondly, +the masses of shadow must be of agreeable shape and must not be too +dark. Plate. + +[Illustration: BOTH'S PRINCIPLE] + + +CHAPTER II. + +SECTION II. + +BOTH'S PRINCIPLE. + +The style of Both is only a slight variation from that of Cuyp. He +adopted a different character of subject, usually contriving to +relieve a mass of rock or bank, and a tree with delicate foliage +against the sky; and he increased the warmth of the general aspect of +the picture, by making the tree and part of another _light_ bank, of +the rich brown afforded by burnt Terra de Sienna, and by introducing +some red clouds in the sky. In some instances Both has not escaped the +dangers that present the difficulty to his followers; the tone of +these pictures appears hot, and thereby a vulgarity is occasioned, and +that refinement which is required by Taste in the Fine Arts, is +destroyed. Plate. + +[Illustration: RUYSDAEL'S AND HOBBIMA'S PRINCIPLE] + + +CHAPTER II. + +SECTION III. + +HOBBIMA AND RUYSDAEL'S PRINCIPLES. + +These masters have adopted a style which, though apparently as +opposite to that of Cuyp and Both as cold is to warm, resembles it in +this respect--they rarely, if ever, admit positive colours in force, +and thus offer another simple principle for the treatment and +arrangement of tints. + +In Hobbima and Ruysdael, who painted landscapes, dark brownish masses +are relieved against a cloudy grey sky, and some white or grey light +is introduced in front to carry the colour of the sky through the +work. The general aspect of the picture is cold. What little warmth of +tone may be admitted, is to be found in the centre of the shadows; and +the only approximation to positive colour, is in the sky, a little +cold feeble blue, obtained in water-colours from Indigo; and a small +portion of a deeper shade of the same tone of blue on mountains or +trees in shadow in the distance; or a little cold green in the middle +ground. If ever any red be introduced, it must be a mere speck of +vermilion shaded with grey, to give value by contrast to the neutral +tones, which make up the principle part of the picture. Plate. + +[Illustration: OSTADE'S PRINCIPLE] + + +CHAPTER II. + +SECTION IV. + +TENIERS AND OSTADE'S PRINCIPLES. + +Teniers and Ostade have treated homely interiors upon the same +principle, making up the greater part of the picture with brownish +grey tones, and introducing in the light, some very feeble spots of +the primary colours, carefully shaded with grey, to assimilate them +with the general aspect of the work. What little warmth is admitted, +is found in the shadows and reflections, as in the productions of +Ruysdael and Hobbima. But the lights afford a greater purity of tone; +so that while the works of Ruysdael and Hobbima would be said to have +a grey tone, Teniers, and particularly Ostade, are said to have a +silvery tone. Plate. + +[Illustration: PRINCIPLE OF TITIAN AND THE VENETIAN SCHOOL] + + +CHAPTER II. + +SECTION V. + +THE PRINCIPLES OF TITIAN AND THE VENETIAN SCHOOL. + +The Venetian School, founded by Titian, adopted a combination of rich +warm browns, yellows, and greens, supported by crimsons, all deep in +tone, overspreading two-thirds of the picture, opposed by very rich, +almost warm, blues, and animated by a point of white, sometimes +accompanied by black in the front of the subject. No violent contrasts +are admitted, no crude colours. The white is toned down to assimilate +with flesh tints, which are again toned to accord with golden lights, +gradually deepening into yellowish browns, and emerging through warm +greens to join the blues, which are kept in check by the opposition in +some places to rich reddish browns of the same relative shade, so that +one shall not be darker than the other; the blue is graduated as it +approaches the white, into which it is blended by the interposition of +fleshy-coloured tints. The whole aspect of the picture is rich and +warm, but subdued. The lights are golden and the shadows brown, with +just so much cool green, white, and blue, as shall prevent the picture +appearing rusty. But though these tints are called cool, because they +are cooler than the rest of the work, as in the style of Cuyp and +Both, they must not be cold; but above all it is requisite to take +care that they are not crude. White must be toned with yellow or red; +blue must incline to purple; and if black be introduced, it must not +be _blue_ black. Plate. + +[Illustration: LUDOVICO CARACCI'S PRINCIPLE] + + +CHAPTER II. + +SECTION VI. + +LUDOVICO CARACCI'S PRINCIPLE. + +Ludovico Caracci followed the Venetian school, but subdued the colours +of the whole picture, to what Sir Joshua Reynolds calls a "cloistered +tone," the effect of a "dim religious light, through storied pane." +Neither white nor black are admitted: the deepest shadows do not +descend below a rich brown; the brightest lights do not rise above a +creamy yellow. The blue is no longer opposed to a brown of the same +relative shade, but is introduced in the half-lights, and carefully +blended into the shadows, by means of warm reflections, and the +interposition of reddish purple shadows. The Chiaroscuro is broader +and more tranquil than in the works of the Venetian school. Plate. + +[Illustration: ANOTHER PRINCIPLE OF TITIAN] + + +CHAPTER II. + +SECTION VII. + +ANOTHER PRINCIPLE OF TITIAN. + +Titian has adopted another principle in the painted ceiling of the +Hall of Judgment, in the Ducal palace at Venice. Pure greys are +interspersed amongst masses of bright crimson, which are opposed to +some pure white and blue, broken by flesh tints. The reds and greys +are supported by some warm yellows, and the whole assimilated by rich +brown shadows. The contrasts of colour and Chiaroscuro are vivid, and +require care in the shapes, as well as the situations of the masses +and points of relief. Plate. + +This principle of colouring is applicable to gorgeous historical +subjects, portraits, and flowers. Sir Thomas Lawrence frequently +adopted it with a slight variation, resulting from the combination of +some portion of the following principle which was developed by Rubens. + +[Illustration: RUBEN'S PRINCIPLE] + + +CHAPTER II. + +SECTION VIII. + +RUBENS' PRINCIPLE. + +Rubens is the founder of another school in which the most violent +contrasts of colour and Chiaroscuro are admitted in the focus of the +picture. The deepest black, supported by rich yellows, crimsons, and +blues, is opposed to the brightest vermilion, sometimes heightened +with gold, and the purest white, which is graduated through every +variety of pearly tint into bright blues, interspersed with purply +greys, creamy and fleshy half-tints. + +Great simplicity of Chiaroscuro is requisite in this style of +colouring. Both the white and the black must graduate uninterruptedly +into the half-lights, which form the greater part of the picture. The +crimsons, blues, and yellows, that support the black, must all partake +of the same tone. The vermilion must graduate into purply tints, which +will emerge through greys and greens to the bright blue. Plate. + +[Illustration: TURNER'S PRINCIPLE] + + +CHAPTER II. + +SECTION IX. + +TURNER'S PRINCIPLE. + +Turner has controverted the old doctrine of a balance of colours, by +showing that a picture may be made up of delicately graduated blues +and white, supported by pale cool green, and enlivened by a point of +rich brownish crimson. It requires some care in the graduation and +shapes of the masses of blue and white, and in the situation of the +point of colour. Plate. + +[Illustration: ANOTHER PRINCIPLE OF TURNER] + + +CHAPTER II. + +SECTION X. + +ANOTHER PRINCIPLE OF TURNER. + +Another principle adopted by Turner is, to contrast rich autumnal +yellows in the foreground, with a brilliant Italian blue sky, +graduated through a series of exquisitely delicate pearly tints, to +meet the cooler green tints of the middle ground. The warm colours in +the foreground are qualified by purply half-tints, and supported by +warm shadows and some rich crimsons; or sometimes reduced to +comparative sobriety by the opposition of the brightest orange and +white. Plate. + +[Illustration: MODERN MANNER] + + +CHAPTER II. + +SECTION XI. + +MODERN MANNER. + +A very favourite manner of the present day is partially to relieve a +tower, steeple, spire, or some upright object, rendered of a purple +colour, against a white cloud which is graduated with purply greys, +creamy and fleshy tints, and opposed to some bright patches of blue; +the lower part of the building or object is graduated through cool +greens or greys, into some warmer yellows or browns in the foreground, +which are interspersed with points of bright colours, such as Cobalt +blue, Vermilion, Lake, and sometimes white and black, but always +introducing in front some dull red, as of bricks or tiles, contrasted +with fresh greys. Plate. + + +CHAPTER II. + +SECTION XII. + +ABSTRACT PRINCIPLES TO WHICH THESE ARRANGEMENTS MAY BE REFERRED. + +These several styles of colouring may be reduced to certain abstract +principles, which may be made the foundation for other and different +arrangements, as the taste and talent of the artist or amateur may +dictate. + +Pictures may be made up of a balance, or harmonic arrangement of +TONES. + +Or, of a balance, or harmonic arrangement of COLOURS. + +Or, of a balance, or harmonic arrangement of TONES and COLOURS. + +Or, by relieving a SPARK of COLOUR against a mass of TONES. + +Or, by relieving a spot of black or white, _the concentration of_ +TONES, against a general aspect of COLOURS. + +Pictures may be warm in tone, qualified by so much cool tint as will +prevent their appearing hot. + +Or cool, with so much warm tint as will prevent their appearing cold. + +A small spark of bright colour will balance a large mass of subdued +tint. Equal brightness will require equal masses. + +For the principles by which the shapes and situations of masses and +points must be governed, the reader is referred to the Sketcher's +Manual, where they will be found at length, and carefully illustrated. +The same regulations that govern the distribution of several lights or +shadows, must guide the positions of several masses of the same +colour. If two or more are introduced, they must not be equal in size, +nor similar in shape, nor must they be so placed, that a line drawn +through them, would be either horizontal or vertical--parallel with +either base or side. The great principle of colouring being Variety +within the limits of Harmony, such masses of similar tints should be +of different sizes and shapes, and should be interspersed at different +distances through the picture, so as to suggest an undulating line, +traversing all, or at least three, of the four quarters of the +picture, that all the particular colour shall not be on one side, and +none on the other, nor all at the lower, and none in the upper half of +the picture. But if the arrangement of relieving a spark of colour +against a mass of tones, or the reverse be adopted, it must not be +placed in the centre of the picture, nor equidistant from either top +and base, or the two sides. + +With regard to the beauty of individual tints, it would be difficult +to come to any very strict definition, as what is pleasing to one +person, is not so to another; and particularly in reference to the use +of colours in Art, for they then become so dependent upon the other +tints by which they are surrounded, that they may be said to cease to +have positive designations, and to become only comparative; and there +is scarcely any tint, however disagreeable in itself, but may be made +by Art to appear agreeable, if not beautiful. But the object of the +present work being to collect the certain or decided principles of +Art, for the benefit of those who desire to derive pleasure or +amusement from it, the doubtful or questionable hypotheses will be +left untouched, and those points only brought forward which are +calculated to ensure success. + +For this purpose, the amateur should avoid greenish blues and greenish +yellows; they both appear sickly: and never place such a green between +blue and yellow as would result from the mixture of the particular +tints of those two colours which are made use of. + +Both blue and yellow become agreeable as they incline to red. Red +becomes rich as it inclines to blue, brilliant as it inclines to +yellow. All shades and tones of purple or orange are agreeable; but of +greens, those only which incline to yellow. Blueish greens require +either to be very pale, as shown in Turner's first principle (_See +Plate_), or moderated with black, so as almost to cease to be colours, +and become tones. All shades and tints of the tertiary compounds are +agreeable in their places; they receive value by the opposition of the +colour which enters least into their composition, and become difficult +to manage only when they approach full blueish green. + +White and black give value to all colours and tones. + +It may be necessary to make an observation upon the foregoing warning, +and almost proscription, of the use of green in Art, as that colour is +found to be exceedingly agreeable in Nature, and is used with success +in manufactures, and for other general purposes. It is found to afford +great relief to weak sight, and is abstractedly so much admired, that +it appears singular and paradoxical to say, that green must be +sparingly used in pictures, even in landscapes, whose greatest charm +in nature consist of luxuriance of vegetation: but such is the case. +The general tone of a picture may be yellow, as in the works of Cuyp, +Both, Ludovico Caracci (_see Plates_); red, as in the second principle +of Titian (_see Plate_); blue, as in the first principle of Turner +(_see Plates_); grey or brown, as in the works of Ruysdael and the +Dutch School (_see Plates_); but a green picture, however true to +nature, instantly excites an universal outcry as being disagreeable; +and if any of the modern school, to which we shall presently advert, +have been for a moment tolerated, it has arisen from the previous +great reputation of the artist, or for other merits in the work, and +in _spite_ of its being a green picture. + +The following hypothesis _may_ be the mode of accounting for this +paradox, and, at the same time, _may_ throw some light upon another, +which will be noticed; that although painting is an imitative art, +imitation, to the extent of deception, does not constitute its highest +excellence. + +The eye is excited by Colour, and the object of painting, independent +of poetical expression or character, is to excite the eye agreeably. +But green is found to excite the eye _less_ than any other tint, +(thereby affording some corroboration to the idea that, strictly +speaking, its opposite red, is the only true _colour_,) not even +excepting black; so that it acts as an opiate, and is used for +counteracting the brightness of the sun, by means of parasols or +glasses, and to guard weak eyes from the effects of light by means of +silk shades. + +It is thrown out as a suggestion that, in looking at a picture in +which excitement to the degree of pleasure is _expected_, a +disappointment _may_ arise from finding a prevalence of those tints +which do not excite, except to a very slight extent, and that _thus_ a +green picture _may_ occasion dissatisfaction. In looking at Nature we +do not wish to be always excited, and green is admired or valued as +affording repose; but in looking at a picture, the very object is +excitement, within certain limits, which green has a tendency to +destroy. + +Certain tints of green become disagreeable in certain parts of +pictures, from association of ideas. Green in flesh, excites the idea +of corruption and decay. Green in skies, occasioned by blending the +warm yellows of sunset with the blue, excite the impression of want of +skill to prevent the one tint running into the other. + +But in reservation it must be repeated, that there is no tint that +cannot be controlled and made available, by great skill and +management, to the purposes of Art. These warnings are for beginners +and amateurs; and the work is intended to show them what they may do +with safety; as they attain proficiency, they may attempt +difficulties, which principally reside in _truth_ of detail _in +combination_ with agreeable general effect. When to this is added a +just subservience to Poetical Character, the greatest requisitions of +the Art have been complied with; all other difficulties, of whatever +nature, being merely a species of mountebank trickery, beneath the aim +of high Art, and deserving of the well-known sarcasm of Dr. Johnson +upon some difficult music, that "he wished it were impossible." + + + + +CHAPTER III. + +FINE COLOURING. + + +Having shown in the preceding chapters certain principles upon which +Pictorial arrangements of Colours may be ensured, the attention of the +reader must be directed to what other qualities are requisite to +constitute Fine Colouring. + +Fine Colouring must not be confounded with Fine Colours. Some of the +Finest Colourists have avoided Fine Colours, and Sir Joshua Reynolds +adduces as a _proof_ that Apelles was a Fine Colourist, the statement +by Pliny, that, "after he had finished his pictures, he passed an +_atramentum_, or blackness, over the whole of them." + +Nor is truth of imitation sufficient of itself to constitute Fine +Colouring, though it always confers a value on a work of Art. + +Fine Colouring, in the higher walks of Art, implies an adaptation of +the general aspect or style of colouring to the expression and +character of the subject; it then acquires the title of Poetical +Colouring, which is its highest commendation as a means of Art. + +But, independent of subject, there are other abstract qualifications +of Fine Colouring to be sought for, in the representation of objects. +It not only requires such an arrangement of tints and tones as shall +produce an agreeable whole, but descends to minutiæ, and demands that +such tints and tones, shall be obtained by a degree of refinement or +idealization, within probability, of the ordinary appearances of +Nature, or by a selection of the greatest beauties she displays, and +such a combination of them as shall contribute to convey the most +pleasing impressions, and present _her_ under the most attractive +aspect. + + +CHAPTER III. + +SECTION I. + +PRINCIPLES OF COLOURING OBJECTS. + +Proceeding to consider Colouring independently of Character or +Expression, to which it should be subservient in the higher walks of +Art, the attention of the reader must be directed to a circumstance +connected with truth of representation. + +It has commonly been the practice, under the almost universal sanction +of great authorities, to place the student who may be desirous of +acquiring the Art of Painting, before some object, and to direct him +to copy _what he sees_. But what does he see? + +We need not go into the question of _how_ impressions are produced +upon the mind, through the medium of the eye; whether a species of +picture of the object be, during the inspection, as it were painted +upon the retina; and whether that be inverted or anywise different +from the real object; or whether, and to what extent, association +rectifies the imperfections of our sight. These, and other +investigations into the philosophical and physical nature of vision, +may be left to the consideration of those who desire to account for +particular facts; we have to do with the facts themselves. + +In whatever manner the effect may be produced, it is indisputable, +that a certain and distinct impression is produced upon the mind, +through the medium of the eye, by every object which may be before it, +and that impression has a strict relation to the real character of the +object; for instance, a marble statue, it appears, or an impression is +conveyed of, an object of one unvaried tint. How this impression is +conveyed, is of no consequence; it is conveyed; and a series of tints +may be artificially arranged upon paper (or any other convenient +material), so as also, if not equally, to convey to the mind the +impression of a marble statue of uniform whiteness. But upon +examination of the drawing or painting, it would be seen, that +scarcely any two parts of the _representation_ of the statue were of +exactly the same tint. Some parts would be delicately graduated from a +point of light, through a series of darker tints, to give the +appearance of roundness; while others would be made nearly black by +shadow, to give the appearance of projection. The present enquiry has +reference solely to Colours, but the same difficulties occur with +regard to forms. + +Here there is a discrepancy, occasioned by Association, which we shall +scarcely find language to explain, but which will in most cases prove +of serious perplexity to the student; for there are some other persons +like Queen Elizabeth, who have no idea of shadow, unless it be the +shadow of a parasol or tree, under which they may escape the intensity +of a noon-day sun. The statue will appear, or an impression will be +conveyed to the mind, of uniform whiteness. But pictorially speaking, +one spot only, that which reflects the greatest light, will appear +quite white. All the other parts will _appear_, that is, to convey the +impression, they must be made, of an infinite variety of tints, from +the brightest light to the deepest shadow. The statue _is_ actually +uniformly white, and it appears uniformly white, yet the _appearance_ +or representation which must be put upon paper, to convey an +impression of that _appearance_ by drawing or painting, is totally +opposite, being an infinite variety of tints. + +But in a statue, by reason of its convexity, the second species of +_appearance_, the Pictorial, is much more readily appreciated, from +the strong opposition of light and shadow, than in a flat surface,--a +ceiling, a pavement, or meadow, in which the perception of the +modifications of colour, arising from what is termed aerial +perspective, is considerably influenced, by the Association above +mentioned, until the eye has become educated to observe these minute +and delicate gradations of tint. Thus, in looking at a meadow, we know +the grass to be generally of the same colour throughout, and to an +uneducated eye it _appears_ equally green from one end to the other: +or the ceiling of a well lighted room, we know it to be of one colour +throughout, and it _appears_ of one even tint from the nearest to the +most distant extremity; yet pictorially speaking, it _appears_ of an +infinite variety of tints, for the effect of the atmosphere is such as +to rob the grass of its colour, and to make the white ceiling grey, as +they recede from the eye. + +It will scarcely be necessary to guard against misconception as to the +use of the terms describing the effect of the atmosphere, by +explaining that it is not intended to assert that an _actual change_ +takes place, or that there is any _actual_ difference in the colour of +those parts of objects which are at a distance from the eye; or, that +the colour in the distance does not appear to be, as we know it is, +the same with that nearest the eye; but that the effect of distance is +the _pictorial appearance_ of a modification of tint, by the +interposition of the atmosphere, perceptible only to an educated eye. + +We know the grass to be equally green throughout, and it appears of +the tints which convey that impression; while Association conceals the +modification occasioned by the interposition of the atmosphere (which +the generality of observers consider as only "air," and of no +consequence), and excites the notion that the meadow appears of one +equal flat tint. But the distant extremity of the meadow is seen +through more or less atmosphere, which is more or less dense; and in +proportion to its density will the colour of the grass be _apparently_ +altered or changed thereby; and in some instances, as in case of a +fog, entirely concealed. + +In looking at any object through a perfectly transparent medium, such +as plate glass, we do not perceive any alteration in the real colours. +But when the medium is not perfectly transparent, which is the case +with the atmosphere, the colours of all objects seen through it are +modified or tinged in proportion to its density, until they are +sometimes lost or absorbed in the tint of the medium. + +The slightest possible colourless opacity gives a medium approaching +to a whitish film, which is very evident when there is light behind +it; as in the case of the beams of the moon. This is the clearest +state of the atmosphere. As it increases in density, it becomes more +and more white, until it becomes a white mist, fog or cloud. The +atmosphere is sometimes coloured, as will hereafter be mentioned; at +present we have to do with its colourless state. + +The opacity of the atmosphere, as a white film over the darkness of +space, occasions the blue appearance of the sky; and in proportion to +the rarity or density of the medium, is the intensity of colour, or +rather depth of tone. If the atmosphere be extremely rare, as in the +Polar regions, or at the height of Mont Blanc, the sky appears almost +black. And if the atmosphere be thick with vapour, the sky assumes a +milky colour, and the blue tint is lost in that of the medium. When +the atmosphere is just so rare as to be scarcely perceptible in its +influence upon terrestrial objects,--as in Italy, or the eastern +climes, where the most distant buildings appear diminished in size, +but almost as distinct as those close to the spectator,--yet +sufficiently dense to become a veil to the expanse of space, the +colour of the sky appears the most intense blue. As near as we can +superficially ascertain it,--in the exact medium between such rarity +of atmosphere as would afford blackness, and such opacity as would +afford whiteness,--we may expect to find the most intensely blue +colour in the sky. + +As the effect of this colourless opacity of the atmosphere is, to +render the appearance of the _darkness of space_ a blue colour, so all +dark terrestrial objects are similarly affected by the intervening of +this medium, and, in a corresponding degree, become more or less blue. +The dark mountains in Wales and Scotland appear of a deep blue, +sometimes verging upon purple; and a slight comparison between the +colour of the trees close to the spectator and those in the distance, +will show how much more blue the latter become, from the influence of +the medium through which they are viewed. + +And as objects, in proportion to their distance, are more or less +affected by the interposition of the atmosphere, so, also, do the +parts of the individual objects themselves, become more or less grey +as they recede. The boundaries of a white object are less white, and +of a black object less black, than the parts nearest the eye. A tree +is most green at the prominent parts, and greyer at the top and sides. + +This truth is so decidedly felt by the public in general--though +perhaps insensibly appreciated and but tacitly acknowledged,--that, as +the atmosphere reduces the colours of all objects to a blue tint, so +all blue colours convey an impression of distance, and all tints +approaching to blue are accordingly designated _retiring colours_. + +But the atmosphere is not always colourless. The rays of the sun tinge +it with yellow. The rays from a fire or candle tinge it with a colour +approaching to red. The combination of smoke tinges it with black or +brown; and fogs infuse various degrees of dingy yellow. All these +variations affect the colours of the objects seen through the +atmosphere, and modify the degree of blue, or quality of grey, tint +communicated thereby. + +When the atmosphere is coloured by the light of the sun, the blue is +modified, more or less, into a warm grey. But owing to the brilliancy +resulting from the blaze of light, the tints remain of the utmost +purity. All tendency to green is kept in subordination by the pearly +tints of those parts which are in shadow. The atmosphere is rendered +more dense at the same time that it is coloured by the light of the +sun; but the light parts of the objects seen through it are rendered, +by the same cause, so much more brilliant, that the density of the +medium is partially compensated; while its full effect is apparent +upon the shadows seen through it, over which a bright haze diffuses a +beautiful blue tint, slightly warmed by the golden colour of the +illuminating power. The contrast of the yellow tinge in the lights +makes these shadows appear to incline to purple; and at sunset and +sunrise, when by the greater quantity of the medium, rendered more +dense by the aqueous vapours close to the earth, the colour of the +sun's light is enriched to a deep golden hue approaching orange and +red, the shadows assume a decidedly purple tint, of which the blue is +supplied by the density, and the red by the colour, of the medium. As +the light of the sun decreases, the colour of the atmosphere is more +evidently tinged with red, until the sun has sunk so far below the +horizon, that the shadows of night incorporating with the colour of +the vapours, render them a dull grey, sometimes approaching a brown. + +In proportion as the atmosphere is illumined does it also become +opaque. The sky close to the sun appears much less blue than on the +opposite side of the heavens. The beams of the sun, or moon, or even +the rays of a candle, become so opaque, as absolutely to conceal all +objects behind them. + +In a glowing sunshine, the particles of the atmosphere loaded with +light, produce that soft haze or _caligine_, "as the Italian hath it," +by which the colours of every object seen through it, are assimilated +in one broad, warm, grey tone, however varied the tints of the objects +in reality may be. + +Another singular appearance takes place in remote objects, of which no +one has so fully availed himself as Turner, for the production of +pictorial beauties, and the brilliancy of sunshine. The atmosphere, +which becomes most visible when before shadows, is frequently so much +illuminated by the sun's rays, as to make the shadows appear nearly +equally light with the illuminated parts of the objects; and the only +distinction between the lights and shadows is to be found in the +difference of tint--the shadows being blue or purple, and the lights a +warm yellow, or fleshy colour. + +The practice in art, both in Oil and in Water colours, has been an +imitation of the process of nature, and with similar results. It is +usual in Oil to paint the distance stronger in colour than it is +intended to remain, and when dry, to pass some very thin opaque colour +(technically to scumble) over the whole. Thus the most perfectly +aerial tints are produced. In Water Colours, owing to the different +quality of the materials employed, another method is adopted. White, +or any opaque pigment (except when used in conjunction with Oil +painting), has a disagreeable effect; so it is considered advisable +partially to wash out the too highly coloured distance, and aerial +tints similar to those produced by the scumble are obtained. + +However requisite it may be philosophically to account for these +appearances, it is unnecessary to perplex the reader of the present +work with a questionable statement of the greater impetus of rays of +certain colours enabling them to penetrate through the dense +atmosphere, while others are more feeble, and are swallowed up and +absorbed by the medium through which they in vain essay to pass. This +may be a very pretty story to amuse children with, and such +philosophers as are verging on their second childhood; but while so +simple a method can be discovered of accounting for the blueness of +the sky and distant objects, and one that can be so easily exemplified +as that given in the previous pages, we shall not be the parties to +contribute to that amusement, by writing "the history of some blue +rays that were lost in a fog." Nor is this the place to point out the +absurdity of such theories; it will be sufficient to remark that _if_ +they are correct, all distant objects must appear _red_; and the +blueness of the sky can only be accounted for by the hypothesis, that +the atmosphere is a sort of trap for the blue rays of all the light +that has passed and is passing through it! + +Such being the effect of the atmosphere, and such being the +antagonizing influence of Association in looking at Nature, it has +been found necessary for the purposes of Art, in representation, to +exaggerate the former, to overstep the modesty of Nature, and thus to +produce what may be termed conventional imitations or translations of +Nature. + +For, in looking at a picture, Association again affects us; and as we +know what is before us to be a flat surface, this can only be overcome +by increasing the effects produced by atmospheric influence, +reflections, refractions, &c. Hence the colour of all distant objects +are reduced to some tone of grey, oscillating between the extremes of +bright blue or even purple, and the medium between black and white as +the subject, may be in sunshine cold daylight; or, as the taste of the +artist may lead him to prefer one scale of colouring to another. Those +who delight in the sunny skies of Italy, or tropical climates, +represent the distance by the purest blue that Ultramarine affords. +Others, who delineate the village church or cathedral tower, represent +them of a dark grey. Mountain scenery is represented of a deep Indigo +blue, sometimes inclining to a decided purple, as all must remember in +the drawings of the late Mr. Robson. + +If this exaggeration or pictorial license be objected to, as an +unnecessary departure from truth or the beauty of Nature, let the most +inveterate worshipper of verisimilitude place himself before a +landscape under bright sunshine, on a clear day, and make an exact +representation, if he be able, of what he sees; and he will be +convinced that in such an instance, something more and very different +is required, to make a finely coloured picture. It cannot be that the +colours of the original are deficient in beauty, but that an essential +quality of the beauty of Nature cannot be preserved by Imitative Art. +He will find that it will not be possible to preserve even slightly +the gradation of tints before him, without descending almost to +blackness in the shadows, which will be destructive of brilliancy of +sunshine, and at the same time, of that quality which is indispensable +in a work of Art, _breadth_. He will find that in comparison with the +brightness of the sky, the trees will look as dark as they are +represented by Ruysdael and Hobbima, but who incontestibly do not give +the idea of sunshine. As in translating from one language to another, +he will find that a literal version may give the bones, but not the +spirit of the text; and that something more is required to transfer +the full force and character of the original. Herein consists a great +part of the art of colouring objects. It may be that the scene being +unbounded in Nature, is acted upon by extraneous circumstances which +cannot be called to the aid of a picture. + +As it is impossible with pigments to rival the brightness of light, it +has been found necessary to adopt some method of forcing the effect of +colours, so as to conceal or to supply a compensation for this +deficiency, and _apparently_ to produce the vigour of truth. + +This has led to a division, which rivals in fierceness as in name, the +feud of the Bianchi and the Neri of Italy, into two great schisms or +factions of colourists, of whom, it is to be regretted, too many are +apt to consider those of the opposite party as lost in the depths of +absurdity. The hostility and contempt are quite mutual, and equally +ungrounded. + +A writer in Blackwood's Magazine of the Neri faction says, "We have +received a prescriptive right to make war upon the rising heresy of +light pictures, and we will wage it to the knife," or some such +expressions. + +Certain tones of colour have been found to be almost universally +recognized as agreeables; and by the above mentioned class of artists +and critics, the Neri, it is held to be "fine colouring," to reduce +every representation, without consideration of propriety, to these +conventionally agreeable tones. Plate. Sir Joshua Reynolds commends a +picture of a moonlight scene by Rubens, which is so rich in colour, +that if you hide the moon it appears like a sunset. + +The background of the far-famed Mercury, Venus and Cupid, by Corregio, +in the National Gallery, and the sky of the Bacchus and Ariadne, by +Titian, in the same collection, are instances of this practice, the +use of conventionally agreeable tones, which may be seen by every one. +It would be difficult to say what the former was meant for, except +_background_ to the figures; and no one ever saw a sky such a blue as +the latter. It irresistibly brings to mind the counter-criticism of a +sceptic to the admiration of a landscape by Poussin, in which Sir +----, a worshipper of the old masters, was indulging:--"What I like so +much is, it looks so _like_ an _old picture_."--"Yes," said the +sceptic, "and the _sky_ looks as _old_ as the _rest_ of the _picture_, +for you never see such a sky now-a-days." + +The Neri apparently give up all hope of rivalling the brightness of +nature; but by forcing the shadows and general tone of the whole +picture, endeavour to produce the same _gradation_ of light and shadow +as in nature, but on a lower scale. + +The Bianchi party, on the other hand, endeavour to compensate for the +want of positive brilliancy, by refining or increasing the delicacy +and beauty of the tints. + +Light is the origin, or immediate cause of _colour_, and the brighter +the light, the greater variety of tints will be found or displayed. As +we cannot rival the cause, the Bianchi contend that we must increase +the effect by introducing _colour_ in lieu of those _tints_ which in +nature appear neutral; and thus conceal the weakness of our imitation +of the cause, by making it apparently produce greater effects. Thus +all greys are rendered by pure Ultramarine blue tints, or delicate +pearly purple, and the greatest possible variety of beautiful and +delicate colours are introduced in the light; while the shadows are +generally of a neutral colour, the most decidedly contrasting with the +tints in the light. But sometimes the colour is also carried through +the shadows as well as the lights; positive crimson being introduced +into those of leaves or grass; while those of flesh are rendered by a +dull red; and those of a sandy bank by pure blue. Plate. + +The Neri complain that the Bianchi want tone, and the Bianchi that the +Neri want purity and light. + +Each of these factions contends, that all the difficulty of fine +colouring is to be found only in their own aim; while they hold in +perfect contempt the productions of their opponents, as being of such +facile achievement as to the sarcasm of Michael Angelo,--to be "fit +only for children," and beneath the attention of those who profess to +study the Fine Arts. + +[Illustration: THE NERI] + +The main difference between the principles of these two parties or +factions, will be found to lie in the treatment of the atmospheric +influence and association, previously alluded to. The Bianchi availing +themselves of the former circumstance, as a reason for introducing a +great variety of pearly greys, on the purity and beauty of which they +contend fine colouring is dependent; and the Neri availing themselves +of the latter, as an excuse for the introduction of breadth of warm +tones, and the omission of as much as possible of the cool tints, +which are deemed so indispensable by their rivals; they limit the +representation of atmospheric influence to the least possible degree. +Titian's Venuses are masses of the local colour of flesh, broken with +so little half-tint, that they are scarcely round, and satisfy few but +critics sufficiently learned in the Art, to be contented with the +beauties of _Art_, as a substitute for the imitation of _Nature_. + +This class of colouring is founded upon the power of Association, +previously alluded to, by which, the local colour overpowers the greys +of atmospheric influence; in other words, that to the eyes of the +many, _flesh_ looks of a _flesh_ colour, and ought to be so +represented. But the _full_ effect of Association is here not allowed +for. In looking at flesh, we know it to be flesh colour; and we know +it to be round; and it requires some education of the eye to discover +the atmospheric influence, as well as the minute gradations in form. +But on the other hand, in looking at a picture, we know it to be a +flat surface; and however far the _imagination_ may be willing or have +a tendency to supply the deficiencies in the representation, +_Association_ is an _antagonist_ and not an ally. This will become +evident upon making outlines of objects and filling them up with flat +tints; imagination will not have power to make them appear to be +round, or to recede. The beauties of this class of colouring are +solely conventional. + +Titian, Giorgione, and Sir Joshua Reynolds lead the van of the Neri; +Rubens, Vandyke, and Lawrence are at the head of the Bianchi; unless, +indeed, we should consider Turner as general-in-chief of the latter. +Claude was probably of the Bianchi faction; but Time, who is the great +ally of the Neri, has made him appear in some of his productions an +adherent of that party. + +It may be added, that most historical painters lean to the Neri +faction, on account of the disadvantage arising from too close an +approach to the common appearance of every-day nature, of which the +effect is described in the proverb, that "familiarity breeds +contempt," and consequently is destructive of that grandeur, +solemnity, or refinement which is indispensable in high art; and they +take refuge in the "cloistered tone" of Ludovico Caracci, so commended +by Sir Joshua Reynolds, a conventional beauty which will presently be +noticed. The Landscape painters, on the other hand, almost universally +belong to the Bianchi party; as truth or _apparent_ truth is so much +more indispensable in subjects that only display the scenery of +nature, and which depend upon that resemblance for producing an +impression, than in subjects which appeal to the passions by the +display of some stirring incident. From the nature of the materials +employed, the tendency of oil painting is to the side of the Neri; +whilst the general inclination induced by Water-colour drawing, is in +favour of the Bianchi party. The _alleged_ principle of the colouring +of the Neri is deduced from the hypothesis laid down by Sir Isaac +Newton, that neither white nor black are _colours_, therefore say the +Neri, "neither should appear in a finely coloured picture; the +brightest lights should not be white; the deepest shadows should not +be black;" nevertheless, those productions which are cited by this +party as the finest specimens of colour in existence, _do_ contain +both _white_ and _black_. In the celebrated picture by Giorgione, +copied recently by Mr. Ward, R.A., to the eye of the uninitiated are +presented both white lights, and black shadows. The former, it is +true, are reduced by _Time_ or glazing; and the latter are excused as +having lost their original colour. + +But this principle can scarcely be said to be carried out, except in +such pictures as possess the "cloistered tone" of Ludovico Caracci +alluded to. Here the lights are warm and golden, as if transmitted +through stained glass. The atmospheric greys are introduced to no +greater extent than is indispensable to prevent the picture appearing +rusty. The shadows are deep rich browns, into which are thrown still +warmer reflections; and the whole picture is subdued to a +soft-mysterious effect, which is admirably adapted to produce what is +technically termed _repose_, and to excite gentle, reverential, +solemn, and even affectionate feelings. It is a style of colouring +peculiarly suited to religious subjects; and in representations of +interiors, may be said to be like nature, because Nature _may_ be made +to appear like it. (_See Plate._) + +[Illustration: THE BIANCHI] + +This principle of colouring may be carried out on a higher scale than +is generally found among the productions of its advocates, and +abstractedly, is undoubtedly calculated to lead to very beautiful +results; though it may be questioned, whether it is sufficient to +entitle the party exclusively to arrogate to themselves the +designation of _colourists_, as they are in the habit of doing. For +the principle of the Bianchi is likewise adapted to produce +exceedingly beautiful colouring; and without some rational or +scientific standard by which the comparative beauty of individual +colours may be determined, so as to distinguish between fine colours +and fine colouring, the admirers of this class of colours may, with +the greatest justice, contend that it is equally beautiful with that +of the opposite party; while it has this superiority, that it will +enable the Artist to produce much more resemblance in the +representation of _external_ nature, and will be much less artificial +in the effects produced as imitation of interiors. + +And they derive a strong argument in favour of their mode of +proceeding being correct, and most likely to stand, from the +circumstance, that the pictures of Vandyke, many of which are _now_ +claimed by the Neri as painted on their principle, when first done +were frequently censured as being too _raw_ or _white_. + +Further, it should be observed that, by too many of the Neri party, +their great object of worship, _Tone_, is limited to the rich warm +brownish yellow which is legitimately superinduced in oil pictures by +the action of Time, or glazing; and surreptitiously obtained by +washing with tobacco-water. But an inspection of the works of the +Dutch school, who belong to a third party which considers both the +Bianchi and Neri to be in the wrong, as too artificial, will show that +_tone_ may be cool as well as warm, and that there is a silvery _tone_ +which has as devoted admirers as those of the Golden Image--(_see +Plates of Ruysdael and of Ostade_). + +[Illustration: THE DUTCH SCHOOL] + +It may not be becoming in the author of the present work to decide +between these great disputants; but from the statement respecting +Vandyke's pictures, that they were considered _raw_ when fresh +painted, as well as from the nature of the materials employed, it is +evident, that the productions of Titian, Giorgione, and other +celebrated colourists, were not, when first painted, of such deep +tones as they exhibit now; and it may be suspected that the +reputation, which was derived from the _original_ colouring of their +pictures, has, to a certain extent, been attached to the colouring +they at present exhibit; and that veneration of talent, and respect +for authority, have given sanction to what would be repudiated by the +Great men whose names form the slogan of the party, and is not really +entitled to commendation. + +That the two principles may be combined, and so produce higher +qualities than either affords alone, is hardly possible, when their +opposite treatment of the effects of atmospheric influence and +association are taken into consideration. + +But this compromise may be made between them with advantage both to +Amateurs and Artists; that the style of the Neri, including that of +the Dutch school, may be considered as most applicable to the +representation of interiors and quiet or grand subjects; while that of +the Bianchi may be considered as most suited to exteriors, and +subjects of gaiety and animation. + +For the benefit of the Amateur, it will be necessary to say something +more upon the style of colouring adopted by the Dutch school, the +productions of which among the cognoscenti, are termed pictures of +_Tone_; tone being in this instance used in opposition to positive +colour, and as implying varieties of the ternary combinations, called +neutral tints, or greys, but otherwise possessing the qualities of +tone in a general sense, namely, transparency. + +This style of colouring is peculiarly adapted to the class of subjects +on which the Masters of the Dutch school generally exercised their +pencils, homely interiors; but when applied to out-of-door scenes, +although undoubtedly possessed of certain conventional beauties, such +as harmonious arrangement and balance of tones, it has a tendency to +look dull and heavy. The landscapes of Ruysdael and Hobbima do not +reckon among their beauties, that of vivacity or cheerfulness. They +may be clear and bright and fresh, as their admirers say, but they do +not represent Nature under her most bewitching aspect, nor is the +style of the school adapted to do so. It leans to the side of the +Neri, from its dread of brilliant colours. It is unaffected, sober, +and in many instances, such as interiors or close woody scenes under +grey daylight, possesses great truth; but from its limited +application, and unpretending effect, is scarcely to be put into +competition, as a style of Fine Colouring, with the higher aims of the +two great parties before mentioned. Plate. + +Such is the present state of the theory of Fine Colouring; from which +it is evident, that, except in a very limited class of subjects, Truth +_cannot_ be made the test--that even in this class of subjects, it is +disputed whether it _should_ be made the test; and that it is also +disputed, to what extent a departure from truth is admissible; or +rather, what quantity of resemblance to Nature is indispensable, and +what method may be the best of compensating the want of accurate +transcription; in short, what is the true _idiom_ of Fine Colouring in +Art, so as fully to translate the beauties of Nature. + +The fashion of the day rather leans to the Bianchi party in +Water-colour drawings, if not in Oil paintings; but the principles of +_none_ of the parties are _fully_ developed in the works of their +existing followers. The followers of the Dutch school are sacrificing +part of their truth for some, but it may be doubted whether the best, +part of the conventional tones of both the other parties. The Bianchi +are more regardless of truth than they need be, even to develope their +principles to the utmost. And the Neri admit themselves to be +wandering in a maze, without any fixed ideas of their own principles, +and therefore are less frequently successful than the reverse; and +they are equally obnoxious to the charge of departing farther from +truth, than is necessary to give their own principles full play. Very +recently a heresy of this faction adopted a peculiarity of tone, which +is not to be found in the works of any of the great men of their +party; and which is obnoxious to two serious objections. It is a +greenish tone that unavoidably excites the idea of corruption and +decay, which, having a tendency towards the disgusting, is not +tolerable in the Fine Arts; and the second objection is, that, in +their zeal for transparency, they had lost solidity to such an extent, +that a portrait of George IV. by a celebrated artist, had the +appearance of a vision, or of having been spun out of green glass +bottles. + +The beginner and the Amateur have already been warned against the +dangers of green in pictures. And it may now be added, that +transparency should reside in the _colours_ to conceal the appearance +of pigments, but that the substances represented should appear as +_solid_ as in nature. + + +CHAPTER III. + +SECTION II. + +COLOURS OF LIGHTS AND SHADOWS. + +Whatever party of Colourists may find favour in the eyes of the +reader, it will be necessary for him to be aware of certain effects +observed in Nature, of which he will make such use as is admissible +under the principle he may adopt. + +Colours reside in the light parts of objects, if not brightest on the +lightest parts, closely adjacent to them. + +Shadows reduce, blacken, or render negative the colours of objects. +The edges, extremities, or boundaries of _all_ shadows are _grey_. + +From the effect of contrast, shadows appear _comparatively_ of the +opposite colour to that of the light. The Bianchi take advantage of +this circumstance, and sometimes force or increase the colour of the +shadow, to bring out that of the light without really tinging it so +_deeply_ as is the case in Nature; whereby greater brilliancy is +retained. + +The colours of the lights and shadows depend upon that of the +illuminating power, whether sunshine, moonlight, or grey daylight. +These will be separately pointed out. + +[Illustration: SUNSHINE] + + +CHAPTER III. + +SECTION III. + +SUNSHINE. + +The degree to which the colours of objects will be affected by that of +the source of light, will very much depend upon the strength of the +illuminating power. + +The light of the noonday sun is so vivid that it diffuses its colour +over all the illumined parts of the objects under its influence. These +assume a rich golden hue, through which the local colours of the +objects are slightly distinguishable, but rather as modifications of +the warm tone diffused by the rays of the sun, than as integral +varieties of tint. + +As already has been noticed, the obvious effect of a yellowish light +upon a blue object would be to induce a greenish tint; but in the case +of sunshine, this is counteracted by the brilliancy of the light, and +in representation, it is necessary for the same purpose, to infuse +sufficient red into the light of blue objects under the influence of +sunshine, or a disagreeable heavy effect will be produced. + +Green, yellow, and orange objects become particularly brilliant in +sunshine. + +The shadows of the foreground are, in Nature, particularly negative or +colourless; but as they recede, become gradually more blue. Sir Joshua +Reynolds has made the shadows on the arm of his Sleeping Girl nearly +black. He is one of the Neri. The Bianchi would have made them partake +more of the colour opposite to that of light, purply brown, broken +with red reflections. The shadows on green objects in the foreground +would be rendered by dark crimson. Sir Thomas Lawrence frequently used +pure lake in the shadows of his grass or shrubs. Plate. + + +CHAPTER III. + +SECTION IV. + +SUNSET. + +At Sunset there is even less variety of colour observable in the +illumined parts of objects than when the sun is higher in the sky. +This arises from the influence of the atmosphere previously alluded +to. A greater quantity of the medium is loaded with light, and the +local colours of the objects seen through it are consequently affected +to a greater degree thereby. The colour of the light is also affected +by the medium through which it passes, and it becomes much richer, and +more nearly approaching to orange. + +The light in the sky, or illuminating power, is made yellow; but the +lights on objects are rendered of a fleshy colour, which is made to +appear warmer by the opposition of positive purple shadows, while +those objects which do not receive any of the sun's light are kept +very cool grey (the effect of reflected light from the blue sky), +which by contrast throws the whole of the illuminated part of the +picture into warmth. Frontispiece. + +[Illustration: MOONLIGHT] + + +CHAPTER III. + +SECTION V. + +MOONLIGHT. + +The light of the moon being white or silvery grey, the shadows are +made comparatively warm browns. The appearance of moonlight is given +by the colours on the illuminated objects in the picture, which are +made to appear cooler than they really are, by the contrast with the +warm shadows. By this means, much more colour may be introduced into +the light than is usually observed in Nature, and without impairing +the effect of moonlight; and the Bianchi contend that by such means +greater brilliancy is obtained. The blues in the sky near the moon are +kept very pure for the same purpose. Plate. + +[Illustration: GREY DAYLIGHT] + + +CHAPTER III. + +SECTION VI. + +GREY DAYLIGHT. + +Grey daylight also affords brownish shadows, but from the greater +quantity and diffusion of comparatively colourless light, the local +colours of objects become more visible, while the shadows are more +varied by reflection and refraction. Reflections take their colours +from those of the objects by which they are occasioned. The lights on +objects are treated as in the case of moonlight; they are made +_positively_ warmer than they appear in nature, and are rendered +_comparatively_ cool by the warmth of the shadows.--Plate. + +* * * * * + +The degrees to which these licences may be carried, must depend upon +the style of colouring adopted. The Amateur has had them placed before +him, and whichever he may choose, he will be certain to meet with +success in the eyes of one party; he cannot hope to please all. + + +J. M. BURTON, IPSWICH STEAM PRESS. + + + + + + +End of Project Gutenberg's Colour as a Means of Art, by Frank Howard + +*** END OF THIS PROJECT GUTENBERG EBOOK COLOUR AS A MEANS OF ART *** + +***** This file should be named 39286-8.txt or 39286-8.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/3/9/2/8/39286/ + +Produced by Chris Curnow and the Online Distributed +Proofreading Team at http://www.pgdp.net (This file was +produced from images generously made available by The +Internet Archive) + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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