DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.18734#0064
5*
COL
<c It is always to be obferved, that a room, or a
vcftibule, requires for the pictures it is to contain, a
colouring adapted to the light they are expected to re-
ceive, and different from the force of thofe expofed in
open air.
" When we fay that the whole tone of colours ought
to agree with the a£tion, and partake of the reigning
colour of the principals, we mean not to exclude that
well managed variety of other colours, without which a
picture is merely a chiaro ofcuro. A fky uniformly
blue throughout, pleafes much lefs than if diverlified
by flying clouds, or theVays of the fetting fun. Nei-
ther is it in a lawlefs introduction of different colours,
that coniifts the beauty of colouring as a compofition,
but in their juft diftribution, guided by the knowledge of
their relations, and of their mutual fupport. The beauty
of objects confidered feparately, depends much on the
breaking of the colours, fo that by this mixture, and
the juft and plealing diflribution of a mafterly hand, a
painted ftone, for inftance, fhould refemble a natural
ftone ; the carnations fhould appear real flefh, accord-
ing to the ages and fexes of the figures j and in fhort,
not only that each obje£r. fhould imitate its original in
nature, but alfo that the whole together fhould produce
an agreeable union, and a delightful harmony."
In colouring, as in proportion, an artift fhould al-
ways feleft the moft beautiful and perfect examples of
nature : but then thefe examples muff, be characteriftic,
the tints of youth apply not to old age; nor the vigour
of health, to the decrepitude of difeafe.
Colouring in large works, requires more force, greater
4 depth.
COL
<c It is always to be obferved, that a room, or a
vcftibule, requires for the pictures it is to contain, a
colouring adapted to the light they are expected to re-
ceive, and different from the force of thofe expofed in
open air.
" When we fay that the whole tone of colours ought
to agree with the a£tion, and partake of the reigning
colour of the principals, we mean not to exclude that
well managed variety of other colours, without which a
picture is merely a chiaro ofcuro. A fky uniformly
blue throughout, pleafes much lefs than if diverlified
by flying clouds, or theVays of the fetting fun. Nei-
ther is it in a lawlefs introduction of different colours,
that coniifts the beauty of colouring as a compofition,
but in their juft diftribution, guided by the knowledge of
their relations, and of their mutual fupport. The beauty
of objects confidered feparately, depends much on the
breaking of the colours, fo that by this mixture, and
the juft and plealing diflribution of a mafterly hand, a
painted ftone, for inftance, fhould refemble a natural
ftone ; the carnations fhould appear real flefh, accord-
ing to the ages and fexes of the figures j and in fhort,
not only that each obje£r. fhould imitate its original in
nature, but alfo that the whole together fhould produce
an agreeable union, and a delightful harmony."
In colouring, as in proportion, an artift fhould al-
ways feleft the moft beautiful and perfect examples of
nature : but then thefe examples muff, be characteriftic,
the tints of youth apply not to old age; nor the vigour
of health, to the decrepitude of difeafe.
Colouring in large works, requires more force, greater
4 depth.