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Burnet, John
A treatise on painting: in four parts: Consisting of an essay on the education of the eye with reference to painting, ann four parts. Consisting of an essay on the education of the eye with reference to painting, and practid practical hints on composition, chiaroscuro and colour — London, 1837

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https://doi.org/10.11588/diglit.1183#0212
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12 PRACTICAL HINTS

produce a sensation of the cool colours, such as the blue, grays, or
greens existing without doors, and which impression ought to become
more feeble, according as the light is broken up by the reflection of the
several colours within the apartment. For all reflected lights, being of a
warmer colour when the light is cool (and vice versa), give a warmth to
the shadows. This then being the leading feature of light, the artist, in
conducting it through the picture, so places those local colours that they
will assist him in preserving such feature, and heightening with their
opposites the properties of the shadows; the employment of science
being the investigation of the phenomena existing in nature, and the
preservation of their several features unimpaired in the representation.

PLATE II.

Fig. 1. That harmony arising from the reflection of one colour upon
the adjoining, so as to produce a blending and union of the several hues,
has been practised with the greatest success by many of the Dutch
school, producing a chain of connexion between the two extremes of hot
and cold. This reflection of colour is more or less powerful according to
the brightness of the colour receiving the light in the first instance, and
the degree of shadow existing on that part of the adjoining object which
receives such reflection. It also depends on the situation of the several
objects: it will also be guided by the smoothness or roughness of the
objects, for reflected light is regulated by both of these circumstances.
For example, the polished surface of grass or foliage, when the light falls
upon it, renders such part less green from its reflecting the colour of
the sky; and, therefore, when that light is thrown off upon any adjoining
object, it is less impinged with green colour. We must also bear in mind
that one object receives the colour of the adjoining from two causes; for
example, when a ray of light falls upon any object, it is refracted, im-
 
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