DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.19571#0130
lib THE ARTIST'S ASSISTANT.
Mr. Cotes being eminent in his profeflion, was de-
iired to lend a pichure for the trial, and give his
judgment, which was made on this portrait of Sir
William Chambers. The crayons he indeed fo per-
fectly fixtd as to refift any rub or brulh without the
leaft injury, which before would have entirely de-
faced or fpoiled it: but the pifture, which before
had a particularly warm, brilliant, and agreeable
effect:, in comparifon became cold and purple ; and
though in one lenfe the attempt fuccceded to the de-
iigned intention of fixing the colours, vet the bind-
ing quality of whatever fluid was made afe of in
the procefs, changed the complexion of the colours,
rendering the cold teints ton predominant. For this
reafon, in order to produce a rich picture, a much
greater portion of what painters term cooling teints
mufl be applied in crayon painting, than would be
judicious to ufe in oils. Without any danger of a
miftake, it is to be fuppofed, the not being acquaint-
ed with this obfervation is one great caufe why fo
many oil painters have no better fuccefs when they
attempt crayon painting. On the contrary, cravon
painters, being fo much ufed to thole teints which
are of a cold nature when ufed wet, are apt to in-
troduce them too much when they paint with oils,
which is feldom productive of a good effect.
Another obfervation I would make, which requires
particular notice from the ftudent who has been
converfant with oil painting, prior to his attempts
with crayons; oil painters begin their pictures much
lighter and fainter than they intend to fihifh them,
which prefents the future colouring clear and bril-
liant, the light underneath greatly affifting the tranf-
parent "lazinjr and fcumblinc: colours, which, if thev
were
Mr. Cotes being eminent in his profeflion, was de-
iired to lend a pichure for the trial, and give his
judgment, which was made on this portrait of Sir
William Chambers. The crayons he indeed fo per-
fectly fixtd as to refift any rub or brulh without the
leaft injury, which before would have entirely de-
faced or fpoiled it: but the pifture, which before
had a particularly warm, brilliant, and agreeable
effect:, in comparifon became cold and purple ; and
though in one lenfe the attempt fuccceded to the de-
iigned intention of fixing the colours, vet the bind-
ing quality of whatever fluid was made afe of in
the procefs, changed the complexion of the colours,
rendering the cold teints ton predominant. For this
reafon, in order to produce a rich picture, a much
greater portion of what painters term cooling teints
mufl be applied in crayon painting, than would be
judicious to ufe in oils. Without any danger of a
miftake, it is to be fuppofed, the not being acquaint-
ed with this obfervation is one great caufe why fo
many oil painters have no better fuccefs when they
attempt crayon painting. On the contrary, cravon
painters, being fo much ufed to thole teints which
are of a cold nature when ufed wet, are apt to in-
troduce them too much when they paint with oils,
which is feldom productive of a good effect.
Another obfervation I would make, which requires
particular notice from the ftudent who has been
converfant with oil painting, prior to his attempts
with crayons; oil painters begin their pictures much
lighter and fainter than they intend to fihifh them,
which prefents the future colouring clear and bril-
liant, the light underneath greatly affifting the tranf-
parent "lazinjr and fcumblinc: colours, which, if thev
were