DOI Page / Citation link:
https://doi.org/10.11588/diglit.1183#0260
50 PRACTICAL HINTS
strongest contrast of colour, is necessary in the humblest walks of the art,
to give the work that firmness and zest observable in nature. If we
examine such works from the time of Rubens, who was the first to
ennoble humble scenes by his pencil, to the decline of the Dutch school,
we observe a want of decision, a timidity in the colour, and a total
absence of those fresh and vigorous tones so truly characteristic of this
department of the art. The breadth of local colour is here equally
necessary, from its being a strong feature in nature; and referring many
colours to the adjoining figures, for their shadow and half tones, becomes
in a degree indispensable; since the figures are generally of a smaller
size, and less capable of sustaining a colour, with all its intermediate hues
from light to dark, upon the same object. Hence also arises the necessity
of often employing the three principal colours, viz. red, blue, and yellow,
upon one figure, to give such figure that consequence over the others
which it ought to have, either from its situation in the group or its
importance in the story. In the inferior walks of the art, we ought never
to lose sight of that approach to deception, and the natural appearance of
objects, arising from their possessing the exact tone of colour observed in
nature under the same influence of atmosphere; and here, perhaps, exists
a difference in the treatment of a subject in familiar life, and one founded
upon ancient history or a poetical basis; the naturalness of the former
being indispensable, while the style of drawing necessary in the latter
requires a corresponding style of colouring.
In the landscapes of Claude we may perceive a breadth of colour and
effect, which has served as an example down to the present time; and
which may be considered as furnishing hints for the treatment of subjects
embracing a wide expanse of country; a softness in the colour, either
from the interposition of atmosphere, or breadth of shadow. His green
tints are seldom violent, and his blue of the sky and distance is filled with
retiring grey tones. His shadows, if illuminated, are touched upon with
cool reflected lights; which treatment, if it deprives them of the rich
tones arising from transparent glazings, gives them that truth which they
strongest contrast of colour, is necessary in the humblest walks of the art,
to give the work that firmness and zest observable in nature. If we
examine such works from the time of Rubens, who was the first to
ennoble humble scenes by his pencil, to the decline of the Dutch school,
we observe a want of decision, a timidity in the colour, and a total
absence of those fresh and vigorous tones so truly characteristic of this
department of the art. The breadth of local colour is here equally
necessary, from its being a strong feature in nature; and referring many
colours to the adjoining figures, for their shadow and half tones, becomes
in a degree indispensable; since the figures are generally of a smaller
size, and less capable of sustaining a colour, with all its intermediate hues
from light to dark, upon the same object. Hence also arises the necessity
of often employing the three principal colours, viz. red, blue, and yellow,
upon one figure, to give such figure that consequence over the others
which it ought to have, either from its situation in the group or its
importance in the story. In the inferior walks of the art, we ought never
to lose sight of that approach to deception, and the natural appearance of
objects, arising from their possessing the exact tone of colour observed in
nature under the same influence of atmosphere; and here, perhaps, exists
a difference in the treatment of a subject in familiar life, and one founded
upon ancient history or a poetical basis; the naturalness of the former
being indispensable, while the style of drawing necessary in the latter
requires a corresponding style of colouring.
In the landscapes of Claude we may perceive a breadth of colour and
effect, which has served as an example down to the present time; and
which may be considered as furnishing hints for the treatment of subjects
embracing a wide expanse of country; a softness in the colour, either
from the interposition of atmosphere, or breadth of shadow. His green
tints are seldom violent, and his blue of the sky and distance is filled with
retiring grey tones. His shadows, if illuminated, are touched upon with
cool reflected lights; which treatment, if it deprives them of the rich
tones arising from transparent glazings, gives them that truth which they