DOI Page / Citation link:
https://doi.org/10.11588/diglit.20658#0168
154
COLOURING.
this effect, though he did not carry it so far as some of die artists of the Dutch school, particu-
larly John Steen who had such a happy method of concealing this labour of his art that his
works appear as if executed without the least deliberation study or exertion of the artist.
The two foregoing methods properly belong to the, grand style ; the two following to the or-
namental.
The next manner is called the Venetian, being first practised in that school; but it is seen to
more perfection, and learnt with far greater advantage in the works of Rubens. Here the
brightest colours possible are admitted, as also the two extremes of warm and cold colours: these
are reconciled by being dispersed over every pert of the picture, till the whole appears at a dis-
tance with regard to colour, like a bunch of flowers. It is evident that if any preference be
given to either of these methods or the following one, this decidedly claims it; as it is the man-
ner adopted by that great colourist Titian. Simply considered with regard to its colours it pro-
duces a splendour of effect which eclipses whatever is brought into competition with it; and has
alwavs ransred highest in the estimation of all able critics.
•zoo
The last method is that adopted by Guido, and followed with great success by many artists of
the Dutch school, particularly the younger Vandevelde and the younger Teniers. This manner is
distinguished by a silvery grey or pearly tint, which is predominant over the whole piece. The
pictures of this style are always valued by the critics in proportion as they possess this silvery tint.
One of the best examples of this kind is the famous marriage of Cana by Paul Veronese, in St.
George's church at Venice, where the sky which makes a very considerable part of the picture is
of the lightest blue colour, and the clouds perfectly white ; the rest of the picture is in the same key;
wrought from this high pitch. The cleanness neatness and delicacy of this mode of colouring
perfectly correspond with the subjects of Guido, who more particularly succeeded, and generally
chose those subjects which abounded with female figures angels and children ; and to these pearly
tints the exquisite beauty of his pieces is much indebted This style of painting, where delicacy
and female beauty are the principal objects of the painter's aim, will produce a better effect, from
the purity and clearness of the tint, than even the glowing colours of Titian.
But in the practice of every art excellence of every kind is nearly allied to its opposite extreme
error: and the student will do well to guard against those faults so nearly allied to perfection.
The first of those methods of painting will, without great care, lead him into a hard and dry man-
ner, of which he will find it difficult afterwards to divest himself. The Bolognian style, from its
great simplicity, often degenerates into insipidity. The golden manner of Titian, without the
nicest hand to preserve it, becomes what painters call foxy; and the silvery tint of Guido, in un-
skilful hands, sinks into a leaden aud heavy manner. As each of these styles has its peculiar
characteristics and excellencies, it must be preserved distinctly and separately from the others.
If they be in any way united the mixture infallibly destroys the beauty of the piece : its effect
becomes feeble and uncertain ; and it possesses no distinguished character.
There are some directions which require the painter's attention, in whichever of these styles he
may adopt.
First.—The colour which forms the largest mass must be diffused through different parts of the
picture. For a single colour will be more of a blot than a picture. In pieces which contain a
great portion of flesh cojour, as where there are many hands and faces, there should also be a
principal mass of the same colour. This is best produced by a figure partly naked, but if the sub-
ject will not permit this, a drapery approaching to flesh-colour will answer the purpose: this is
done
COLOURING.
this effect, though he did not carry it so far as some of die artists of the Dutch school, particu-
larly John Steen who had such a happy method of concealing this labour of his art that his
works appear as if executed without the least deliberation study or exertion of the artist.
The two foregoing methods properly belong to the, grand style ; the two following to the or-
namental.
The next manner is called the Venetian, being first practised in that school; but it is seen to
more perfection, and learnt with far greater advantage in the works of Rubens. Here the
brightest colours possible are admitted, as also the two extremes of warm and cold colours: these
are reconciled by being dispersed over every pert of the picture, till the whole appears at a dis-
tance with regard to colour, like a bunch of flowers. It is evident that if any preference be
given to either of these methods or the following one, this decidedly claims it; as it is the man-
ner adopted by that great colourist Titian. Simply considered with regard to its colours it pro-
duces a splendour of effect which eclipses whatever is brought into competition with it; and has
alwavs ransred highest in the estimation of all able critics.
•zoo
The last method is that adopted by Guido, and followed with great success by many artists of
the Dutch school, particularly the younger Vandevelde and the younger Teniers. This manner is
distinguished by a silvery grey or pearly tint, which is predominant over the whole piece. The
pictures of this style are always valued by the critics in proportion as they possess this silvery tint.
One of the best examples of this kind is the famous marriage of Cana by Paul Veronese, in St.
George's church at Venice, where the sky which makes a very considerable part of the picture is
of the lightest blue colour, and the clouds perfectly white ; the rest of the picture is in the same key;
wrought from this high pitch. The cleanness neatness and delicacy of this mode of colouring
perfectly correspond with the subjects of Guido, who more particularly succeeded, and generally
chose those subjects which abounded with female figures angels and children ; and to these pearly
tints the exquisite beauty of his pieces is much indebted This style of painting, where delicacy
and female beauty are the principal objects of the painter's aim, will produce a better effect, from
the purity and clearness of the tint, than even the glowing colours of Titian.
But in the practice of every art excellence of every kind is nearly allied to its opposite extreme
error: and the student will do well to guard against those faults so nearly allied to perfection.
The first of those methods of painting will, without great care, lead him into a hard and dry man-
ner, of which he will find it difficult afterwards to divest himself. The Bolognian style, from its
great simplicity, often degenerates into insipidity. The golden manner of Titian, without the
nicest hand to preserve it, becomes what painters call foxy; and the silvery tint of Guido, in un-
skilful hands, sinks into a leaden aud heavy manner. As each of these styles has its peculiar
characteristics and excellencies, it must be preserved distinctly and separately from the others.
If they be in any way united the mixture infallibly destroys the beauty of the piece : its effect
becomes feeble and uncertain ; and it possesses no distinguished character.
There are some directions which require the painter's attention, in whichever of these styles he
may adopt.
First.—The colour which forms the largest mass must be diffused through different parts of the
picture. For a single colour will be more of a blot than a picture. In pieces which contain a
great portion of flesh cojour, as where there are many hands and faces, there should also be a
principal mass of the same colour. This is best produced by a figure partly naked, but if the sub-
ject will not permit this, a drapery approaching to flesh-colour will answer the purpose: this is
done