DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.19955#0059
CONCLUSION.
57
the true beauties and excellencies are overlooked. I may,
as an illustration of my meaning, recommend the beginner
to select, as studies for colour, the works of Titian, Rubens,
Vandyke, and occasionally of Murillo; but let him avoid,
as studies in colour, the olive-tinted pictures of the Italian
school, and the sombre darkness of Spagnoletto—at least,
until he has made considerable progress, and has well
stored his mind with a just and correct power of appre-
ciating the excellencies of the different great masters.
And, whenever he may determine to copy any picture,
let him decide also what his object may be in the under-
taking; whether, that is to say, it be for its drawing, its
colouring, its expression, or its general subject; then let
him follow it up with reference to this peculiar design.
The mind, so trained in the best school of art, will
avoid all undue gaudiness and glitter, and all meretricious
ornamentation, as it will, on the other hand, dread to sink
into the dark and gloom of extreme soberness in colour.
There will ever be a constant anxiety to guard against
violent oppositions of light and shadow, as well as strong
contrasts of colour; and it will be ever carefully remem-
bered, that the greatest beauty of art is "harmony,"—
that quiet, unobtrusive harmony, which is called "tone."
THE END.
57
the true beauties and excellencies are overlooked. I may,
as an illustration of my meaning, recommend the beginner
to select, as studies for colour, the works of Titian, Rubens,
Vandyke, and occasionally of Murillo; but let him avoid,
as studies in colour, the olive-tinted pictures of the Italian
school, and the sombre darkness of Spagnoletto—at least,
until he has made considerable progress, and has well
stored his mind with a just and correct power of appre-
ciating the excellencies of the different great masters.
And, whenever he may determine to copy any picture,
let him decide also what his object may be in the under-
taking; whether, that is to say, it be for its drawing, its
colouring, its expression, or its general subject; then let
him follow it up with reference to this peculiar design.
The mind, so trained in the best school of art, will
avoid all undue gaudiness and glitter, and all meretricious
ornamentation, as it will, on the other hand, dread to sink
into the dark and gloom of extreme soberness in colour.
There will ever be a constant anxiety to guard against
violent oppositions of light and shadow, as well as strong
contrasts of colour; and it will be ever carefully remem-
bered, that the greatest beauty of art is "harmony,"—
that quiet, unobtrusive harmony, which is called "tone."
THE END.