DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.2086#0022
14 LANDSCAPE PAINTING.
and infinite variations should be the constant study of the artist. He who considers
them as beneath his notice, or treats them only as so many " dirty tints," as Barry
calls them, can scarcely be aware of the rapid degradation which takes place in
all colouring so conducted.
As well might the musician consider playful and beautiful variations in music as
of no importance ; whereas they serve to relieve, refresh, and at the same time to
sustain the attention, and enable it to return with renewed interest to the simple
melody or theme of the composition.
Howard, in one of his lectures, says: "Colour of different degrees of purity is
scattered throughout all nature, cheering and delighting mankind with a perpetual
display of splendour and magnificence. This bountiful provision of nature has
the power of imparting a charm to things the most trivial and otherwise unat-
tractive, and thus furnishes the painter with ready and inexhaustible resources for
the embellishment of his subject, of what kind soever it may be."
Nature presents few of the primary colours to the landscape painter for his
imitation; such objects as birds, minerals, and even flowers, though making the
nearest approach to the primitive colours, are yet seen in portions too small to
have much effect on his picture. The artist may occasionally give a dominant tone
to his composition by a small portion of blue in the sky, or of red in the dress of a
figure; but in general the colours are so blended, harmonized, and diffused by
atmospheric action, that to neglect the tertiary portions of the chromatic scale
would either produce discord, from want of a proper arrangement of colours, or
monotony from their deficiency of contrast.
Harmony in landscape depends more on the distinctly marked character of these
delicate hues, than on the relative proportions or quantities of the primary colours.
In using them the greatest care is required in their selection, and the greatest skill
in their manipulation ; the difficulty of adjusting all their minute variations being
much increased by the necessity for constant and simultaneous attention to the
effects that light and shade have upon these tints. The greatest masters have found
ample scope for the exercise of their genius and industry in their-delineations of
the beauties of natural scenes, which, though depending essentially upon these
tertiary hues, and being constantly presented to our view, still never cease to call
forth the highest admiration of every lover of nature. That they may be viewed
under different aspects, and treated with different effects, and still be ever charming,
is proved by the productions of the most celebrated artists. Whether, like Turner,
they revel in light, air, mist, and sunshine, and with perceptive delicacy aim at
expressing the realms of space; or whether, after Ostade and Teniers, they repose
on the quiet neutral grays; or, following in the steps of Rembrandt, they pass from
and infinite variations should be the constant study of the artist. He who considers
them as beneath his notice, or treats them only as so many " dirty tints," as Barry
calls them, can scarcely be aware of the rapid degradation which takes place in
all colouring so conducted.
As well might the musician consider playful and beautiful variations in music as
of no importance ; whereas they serve to relieve, refresh, and at the same time to
sustain the attention, and enable it to return with renewed interest to the simple
melody or theme of the composition.
Howard, in one of his lectures, says: "Colour of different degrees of purity is
scattered throughout all nature, cheering and delighting mankind with a perpetual
display of splendour and magnificence. This bountiful provision of nature has
the power of imparting a charm to things the most trivial and otherwise unat-
tractive, and thus furnishes the painter with ready and inexhaustible resources for
the embellishment of his subject, of what kind soever it may be."
Nature presents few of the primary colours to the landscape painter for his
imitation; such objects as birds, minerals, and even flowers, though making the
nearest approach to the primitive colours, are yet seen in portions too small to
have much effect on his picture. The artist may occasionally give a dominant tone
to his composition by a small portion of blue in the sky, or of red in the dress of a
figure; but in general the colours are so blended, harmonized, and diffused by
atmospheric action, that to neglect the tertiary portions of the chromatic scale
would either produce discord, from want of a proper arrangement of colours, or
monotony from their deficiency of contrast.
Harmony in landscape depends more on the distinctly marked character of these
delicate hues, than on the relative proportions or quantities of the primary colours.
In using them the greatest care is required in their selection, and the greatest skill
in their manipulation ; the difficulty of adjusting all their minute variations being
much increased by the necessity for constant and simultaneous attention to the
effects that light and shade have upon these tints. The greatest masters have found
ample scope for the exercise of their genius and industry in their-delineations of
the beauties of natural scenes, which, though depending essentially upon these
tertiary hues, and being constantly presented to our view, still never cease to call
forth the highest admiration of every lover of nature. That they may be viewed
under different aspects, and treated with different effects, and still be ever charming,
is proved by the productions of the most celebrated artists. Whether, like Turner,
they revel in light, air, mist, and sunshine, and with perceptive delicacy aim at
expressing the realms of space; or whether, after Ostade and Teniers, they repose
on the quiet neutral grays; or, following in the steps of Rembrandt, they pass from