DOI Page / Citation link:
https://doi.org/10.11588/diglit.1183#0258
48
PRACTICAL HINTS
effect which arises from the employment of colour in producing the
chiaroscuro. His colours are generally placed in harmony with each
other, or in contact with such as give them value; such as red and black,
black and yellow, green and brown, &c.: a blue, for the purpose of
carrying the cool colour into the shadow side of the picture; or a red,
for repeating the warm colour in the cool side. Reynolds says, " The
difference of the manner of Rubens from that of any other painter before
him is in nothing more distinguishable than in his colouring; which is
totally different from that of Titian, Coreggio, or any of the great
colourists. The effect of his pictures may be not improperly compared
to clusters of flowers. All his colours appear as clear and as beautiful;
at the same time he has avoided that tawdry effect which one would
expect such gay colours to produce; in this respect resembling Rarocci
more than any other painter." In comparing Rubens with Titian, we
find in the flesh of the one an assemblage and variety of tints, from the
strongest reds to the most tender greys, vieing often in brightness with
the white linen in contact with it; the flesh of Titian is of a more uniform
colour, the high lights partaking of half tint, when compared with his
white drapery.
The flesh of Rubens has the character of flesh when viewed near, where
every variety of tint can be perceived; that of Titian seems sufficiently
removed from the eye to lose the little varieties in one general blaze.
Perhaps this treatment, from possessing less detail, gives an appearance
of a higher character to the flesh of Titian.
The luminous breadth of colour observable in the works of Titian has
been successfully imitated by Vandyke, in what is termed his Italian
manner; and his pictures of that period possess this character in per-
fection. His most delicate tints have a richness and warmth resembling
the deep tones of Rembrand*: this treatment of the light is supported by
deep browns and reds in the shadows and half lights, thereby preventing
the light from appearing heavy, and giving it an influence over the whole
picture. For example, in his picture of "Susanna," mentioned at page 37,
PRACTICAL HINTS
effect which arises from the employment of colour in producing the
chiaroscuro. His colours are generally placed in harmony with each
other, or in contact with such as give them value; such as red and black,
black and yellow, green and brown, &c.: a blue, for the purpose of
carrying the cool colour into the shadow side of the picture; or a red,
for repeating the warm colour in the cool side. Reynolds says, " The
difference of the manner of Rubens from that of any other painter before
him is in nothing more distinguishable than in his colouring; which is
totally different from that of Titian, Coreggio, or any of the great
colourists. The effect of his pictures may be not improperly compared
to clusters of flowers. All his colours appear as clear and as beautiful;
at the same time he has avoided that tawdry effect which one would
expect such gay colours to produce; in this respect resembling Rarocci
more than any other painter." In comparing Rubens with Titian, we
find in the flesh of the one an assemblage and variety of tints, from the
strongest reds to the most tender greys, vieing often in brightness with
the white linen in contact with it; the flesh of Titian is of a more uniform
colour, the high lights partaking of half tint, when compared with his
white drapery.
The flesh of Rubens has the character of flesh when viewed near, where
every variety of tint can be perceived; that of Titian seems sufficiently
removed from the eye to lose the little varieties in one general blaze.
Perhaps this treatment, from possessing less detail, gives an appearance
of a higher character to the flesh of Titian.
The luminous breadth of colour observable in the works of Titian has
been successfully imitated by Vandyke, in what is termed his Italian
manner; and his pictures of that period possess this character in per-
fection. His most delicate tints have a richness and warmth resembling
the deep tones of Rembrand*: this treatment of the light is supported by
deep browns and reds in the shadows and half lights, thereby preventing
the light from appearing heavy, and giving it an influence over the whole
picture. For example, in his picture of "Susanna," mentioned at page 37,