DOI Page / Citation link:
https://doi.org/10.11588/diglit.1183#0216
14 PRACTICAL HINTS
it, it also destroys its value from the repetition. We, therefore, often find
a colour not only single, but even surrounded by colours of a different
tone, thereby increasing its power. In figures of great interest, or in
such points as the artist wishes to produce great attraction, this is of the
utmost value j and it will not only give such colour the greatest force of
the palette, but resolve the other colours into an agreement with one
another. Thus a knowledge of the theory of colour will enable the artist
to give a vigour to any part of his work, which, without such knowledge,
he would always run the risk of destroying.
Plate II. Fig. 4. There is a harmony arising from a continuation of
the same colour conducted from the extreme light to the deepest shade
passing through a variety of gradations. When a composition consists
of many figures, a variety of colours becomes necessary; to preserve
which from confusion requires simplicity of arrangement: and a union of
one part of a picture with another requires repetition of a colour in
different parts; but the breadth of light and shade requires such colours
to be influenced according as they pass from the high lights into the deep
shadows: thus a pale yellow may terminate in a deep brown, and yet a
chain of communication be kept up; or a pure white may find repose and
union in a pure black; a bright red vibrate (to use a term in music) along
a chord terminating in the gentlest echo of such colour, &c. The weaving
of these lines of colour through the piece constitutes its harmony; for it is
as necessary that colours should take agreeable forms, as light and shade,
or composition of lines. In this mode of conducting the colours in a
picture, the several schools may be united, and colours of the strong full
body found in the Roman school, such as we see in Raphael's works; the
mixed and delicately toned colours found in the Dutch school; and the
vivid and splendid colour found in the Venetian introduced. Rubens
seems to have formed his style from a combination of all the different
schools; and even in the small pictures of Teniers we can trace the
different modes of producing harmony from the harshest reds and blues
it, it also destroys its value from the repetition. We, therefore, often find
a colour not only single, but even surrounded by colours of a different
tone, thereby increasing its power. In figures of great interest, or in
such points as the artist wishes to produce great attraction, this is of the
utmost value j and it will not only give such colour the greatest force of
the palette, but resolve the other colours into an agreement with one
another. Thus a knowledge of the theory of colour will enable the artist
to give a vigour to any part of his work, which, without such knowledge,
he would always run the risk of destroying.
Plate II. Fig. 4. There is a harmony arising from a continuation of
the same colour conducted from the extreme light to the deepest shade
passing through a variety of gradations. When a composition consists
of many figures, a variety of colours becomes necessary; to preserve
which from confusion requires simplicity of arrangement: and a union of
one part of a picture with another requires repetition of a colour in
different parts; but the breadth of light and shade requires such colours
to be influenced according as they pass from the high lights into the deep
shadows: thus a pale yellow may terminate in a deep brown, and yet a
chain of communication be kept up; or a pure white may find repose and
union in a pure black; a bright red vibrate (to use a term in music) along
a chord terminating in the gentlest echo of such colour, &c. The weaving
of these lines of colour through the piece constitutes its harmony; for it is
as necessary that colours should take agreeable forms, as light and shade,
or composition of lines. In this mode of conducting the colours in a
picture, the several schools may be united, and colours of the strong full
body found in the Roman school, such as we see in Raphael's works; the
mixed and delicately toned colours found in the Dutch school; and the
vivid and splendid colour found in the Venetian introduced. Rubens
seems to have formed his style from a combination of all the different
schools; and even in the small pictures of Teniers we can trace the
different modes of producing harmony from the harshest reds and blues