DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.1183#0261
ON COLOUR IN PAINTING. 51
possess in nature. At sunrise or sunset, his light generally possesses its
characteristic feature, and is seldom charged with strong colour; his
darkest shadows are prevented from being heavy, and receive a portion
of air from the introduction of figures dressed in strong blue draperies;
and the warm colours of his buildings and ground are focused, or
rendered less harsh by figures dressed in still more positive colours.
Reynolds, speaking of the local principles which characterize the Dutch
landscape painters, mentions the practice of Claude as opposed to such
confined representations of nature:
* Claude Lorraine, on the contrary, was convinced that taking nature as
he found it seldom produced beauty; his pictures are a composition of
the various draughts which he had previously made from various beautiful
scenes and prospects. However, Rubens in some measure has made
amends for the deficiency with which he is charged; he has contrived to
raise and animate his otherwise uninteresting views, by introducing a
rainbow, storm, or some particular accidental effect of light. That the
practice of Claude Lorraine, in respect to his choice, is to be adopted by
landscape painters, in opposition to that of the Flemish and Dutch schools,
there can be no doubt, as its truth is founded upon the same principle as
that by which the historical painter acquires perfect form. But whether
landscape painting has a right to aspire so far as to reject what the
painters call accidents of nature, is not easy to determine; it is certain,
Claude Lorrain seldom, if ever, availed himself of those accidents; either
he thought that such peculiarities were contrary to that style of general
nature which he professed, or that it would catch the attention too
strongly, and destroy that quietness and repose which he thought
necessary to that kind of painting."
If we contemplate the landscapes of Titian, we find in them the same
greatness of style in composition and colour, which pervades his most
sublime works. The light of his clouds assumes a deep-toned brightness,
aided by the contrast of his dark azure and distances, and is often
rendered dazzling by a multiplicity of dark brown leaves rustling up
possess in nature. At sunrise or sunset, his light generally possesses its
characteristic feature, and is seldom charged with strong colour; his
darkest shadows are prevented from being heavy, and receive a portion
of air from the introduction of figures dressed in strong blue draperies;
and the warm colours of his buildings and ground are focused, or
rendered less harsh by figures dressed in still more positive colours.
Reynolds, speaking of the local principles which characterize the Dutch
landscape painters, mentions the practice of Claude as opposed to such
confined representations of nature:
* Claude Lorraine, on the contrary, was convinced that taking nature as
he found it seldom produced beauty; his pictures are a composition of
the various draughts which he had previously made from various beautiful
scenes and prospects. However, Rubens in some measure has made
amends for the deficiency with which he is charged; he has contrived to
raise and animate his otherwise uninteresting views, by introducing a
rainbow, storm, or some particular accidental effect of light. That the
practice of Claude Lorraine, in respect to his choice, is to be adopted by
landscape painters, in opposition to that of the Flemish and Dutch schools,
there can be no doubt, as its truth is founded upon the same principle as
that by which the historical painter acquires perfect form. But whether
landscape painting has a right to aspire so far as to reject what the
painters call accidents of nature, is not easy to determine; it is certain,
Claude Lorrain seldom, if ever, availed himself of those accidents; either
he thought that such peculiarities were contrary to that style of general
nature which he professed, or that it would catch the attention too
strongly, and destroy that quietness and repose which he thought
necessary to that kind of painting."
If we contemplate the landscapes of Titian, we find in them the same
greatness of style in composition and colour, which pervades his most
sublime works. The light of his clouds assumes a deep-toned brightness,
aided by the contrast of his dark azure and distances, and is often
rendered dazzling by a multiplicity of dark brown leaves rustling up