DOI Page / Citation link:
https://doi.org/10.11588/diglit.1183#0211
ON COLOUR IN PAINTING. 11
Plate I. Fig. 6. The means by which a painter produces his effect is
by light and shade, hot and cold colours. By dividing the picture into
masses of warm and cold colours, he preserves the greatest breadth : his
warm tones increase in splendour and richness, from opposition and
contrast; also the aerial perspective will be increased, and solidity given
to the foreground figures, without the assistance of black shadows. As
we find, in the management of chiaroscuro, a small portion of each sufficient
to produce an harmonious union, so in the balance of hot and cold
colours. By the same means harmony may be produced, and yet the
greatest breadth preserved. In nature we find that most objects illumi-
nated by the sun increase in splendour according as they are opposed to
a ground of a colder tone; such as buildings, &c. in the evening coming
in contact with the northern or eastern sky: and even the moon and stars
assume a brightness, as the blue deepens. We therefore find in nature
those principles existing which artists have applied to painting, in the
treatment of a single head, up to the most extensive compositions.
Independent, however, of our introducing cool colours for the purpose
of giving splendour and brightness; by the means of contrast, of giving
breadth from its resolving the other colours into larger masses; we give
that variety which is so characteristic a feature, and which is found to
exist in the most trifling as well as in the grandest combinations of
nature's colouring.
Fig. 7. The nature of light upon any object is to communicate the
colour of its rays to such object, either by impinging them with such
colour directly, or from their taking it on from reflection according as
they are more or less smooth, or from both causes. We, therefore, see a
reason, if the light is of a cool colour, for spreading its effects upon
objects receiving its rays, and depriving others of those effects less within
its influence; thereby giving it its strong character. For example, when
in a picture of common daylight we introduce its rays into an apartment,
the objects receiving the strongest impressions from such rays, ought to
Plate I. Fig. 6. The means by which a painter produces his effect is
by light and shade, hot and cold colours. By dividing the picture into
masses of warm and cold colours, he preserves the greatest breadth : his
warm tones increase in splendour and richness, from opposition and
contrast; also the aerial perspective will be increased, and solidity given
to the foreground figures, without the assistance of black shadows. As
we find, in the management of chiaroscuro, a small portion of each sufficient
to produce an harmonious union, so in the balance of hot and cold
colours. By the same means harmony may be produced, and yet the
greatest breadth preserved. In nature we find that most objects illumi-
nated by the sun increase in splendour according as they are opposed to
a ground of a colder tone; such as buildings, &c. in the evening coming
in contact with the northern or eastern sky: and even the moon and stars
assume a brightness, as the blue deepens. We therefore find in nature
those principles existing which artists have applied to painting, in the
treatment of a single head, up to the most extensive compositions.
Independent, however, of our introducing cool colours for the purpose
of giving splendour and brightness; by the means of contrast, of giving
breadth from its resolving the other colours into larger masses; we give
that variety which is so characteristic a feature, and which is found to
exist in the most trifling as well as in the grandest combinations of
nature's colouring.
Fig. 7. The nature of light upon any object is to communicate the
colour of its rays to such object, either by impinging them with such
colour directly, or from their taking it on from reflection according as
they are more or less smooth, or from both causes. We, therefore, see a
reason, if the light is of a cool colour, for spreading its effects upon
objects receiving its rays, and depriving others of those effects less within
its influence; thereby giving it its strong character. For example, when
in a picture of common daylight we introduce its rays into an apartment,
the objects receiving the strongest impressions from such rays, ought to