DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.19574#0098
84 CAR
times with vermilion and carmine, and fometimes with lake ;
at other times with pure lake, or with white. Some are deep,
others are pale ; fometimes they are variegated with fmall or
narrow ftrokes: Their grounds are commonly (haded with in-
digo and white.
In fhort, there are a great variety of thefe flowers, which na-
ture herfelf, or your own fancy, will direct you to reprefent.
The green of all of them is of the fea hue, and fhaded with
iris green.
CARNATION, i. e. flefh-colour, in painting, is underftood
of all the parts of a picture in general which reprefent flefti, or
which are naked without drapery.
Titian and Corregio, in Italy, and Rubens and Van Dyke,
in Flanders, excelled in Carnations.
There is fo great a variety in colouring for flenh, that it is hard
to lay down any general rules for inftru£tion therein ; neither are
any rules regarded by thofe who have acquired a (kill this way,
for they copy from originals, or work by their own heads, with-
out knowing particularly why or wherefore ; fo that the moft
able hands, who work with the leallrthought and trouble, would
be fo much the harder put to it, if they were called upon to af-
£gn a reafon for their practice and teaching, as to their colouring
and tints.
Neverthelefs, as beginners Hand in need of immediate inftruc-
tion, I fhall here, in general, fhew how you are to paint the dif-
ferent forts of flefh.
Firft then, having drawn your figure with carmine and ad-
jufted your piece, you muff, lay on, for women, children, and,
in general, for all foft and tender colouring, white, mixed with
a little blue, for faces, the compofition of which will be given
hereafter ; but it muft hardly appear.
And, for men, inftead of blue ufe vermilion for your dead-co-
louring, and, when they are old, let it be mixed with oker.
Then you are to run over all the features with vermilion, car-
mine, and white, mingled together, and form all the (hades with
the fame mixture, adding white as they weaken, ufing fcarce
any of it as they ftrengthen, except in certain places, where it
muft be laid on boldly ; as for example, at the corners of the
eyes, under the nofe, the ears, under the chin, between the
fingers, in all the joints, the corners of the nails, and generally
in every part where it is necefTary to exprefs a feparation in the
dark (hades ; nor need you fear to give them all the ftrength
which they ought to have from the firft fketch, becaufe, in work-
ing thereon with green, it conftantly weakens the red which was
firft laid on.
Having drawn with red, make blue tints with ultramarine
and
times with vermilion and carmine, and fometimes with lake ;
at other times with pure lake, or with white. Some are deep,
others are pale ; fometimes they are variegated with fmall or
narrow ftrokes: Their grounds are commonly (haded with in-
digo and white.
In fhort, there are a great variety of thefe flowers, which na-
ture herfelf, or your own fancy, will direct you to reprefent.
The green of all of them is of the fea hue, and fhaded with
iris green.
CARNATION, i. e. flefh-colour, in painting, is underftood
of all the parts of a picture in general which reprefent flefti, or
which are naked without drapery.
Titian and Corregio, in Italy, and Rubens and Van Dyke,
in Flanders, excelled in Carnations.
There is fo great a variety in colouring for flenh, that it is hard
to lay down any general rules for inftru£tion therein ; neither are
any rules regarded by thofe who have acquired a (kill this way,
for they copy from originals, or work by their own heads, with-
out knowing particularly why or wherefore ; fo that the moft
able hands, who work with the leallrthought and trouble, would
be fo much the harder put to it, if they were called upon to af-
£gn a reafon for their practice and teaching, as to their colouring
and tints.
Neverthelefs, as beginners Hand in need of immediate inftruc-
tion, I fhall here, in general, fhew how you are to paint the dif-
ferent forts of flefh.
Firft then, having drawn your figure with carmine and ad-
jufted your piece, you muff, lay on, for women, children, and,
in general, for all foft and tender colouring, white, mixed with
a little blue, for faces, the compofition of which will be given
hereafter ; but it muft hardly appear.
And, for men, inftead of blue ufe vermilion for your dead-co-
louring, and, when they are old, let it be mixed with oker.
Then you are to run over all the features with vermilion, car-
mine, and white, mingled together, and form all the (hades with
the fame mixture, adding white as they weaken, ufing fcarce
any of it as they ftrengthen, except in certain places, where it
muft be laid on boldly ; as for example, at the corners of the
eyes, under the nofe, the ears, under the chin, between the
fingers, in all the joints, the corners of the nails, and generally
in every part where it is necefTary to exprefs a feparation in the
dark (hades ; nor need you fear to give them all the ftrength
which they ought to have from the firft fketch, becaufe, in work-
ing thereon with green, it conftantly weakens the red which was
firft laid on.
Having drawn with red, make blue tints with ultramarine
and