DOI Page / Citation link:
https://doi.org/10.11588/diglit.19950#0050
50
CONTRAST.
out how fax it affects the Sketches although its principal
use has reference to the finished picture.
Harmony is the art of uniting the extremes of light and
shadow or of warm and cool colour in a picture by the
introduction of such intermediate tones as will subdue the
crudeness of effect caused by the use of opposites alone
and unbroken. The crude masses of light are broken
down by introducing half-lights, winch partially unite them
to the dark masses; and the strong and positive raw
colours in contrast are united by a half-tint made of the
colours so opposed. Thus the primary colours (red,
yellow, and blue) are opposed or in contrast to the
secondaries, (green, purple, and orange) respectively, when
standing together, but become united and harmonised by
the friendly intervention of a neutral interposed between
them. This is the case with all compound tints, however
far removed from the primary colours and first mixtures,
the qualities of colour being always brought out by
harmonious opposition; but a further mixture beyond the
tertiaries (citrine, olive and russet) without great caution
produces blackness, as the degrees of neutrality are then
scarcely observable.
Harmony, then, consists in using such neutrals between
those colours or tones that are opposed, as may diminish
the violence of the contrast and conceal the aim of the
artist in bringing them together, winch would otherwise be
so obvious as not only to offend the eye, but to diminish
the interest of the picture. This is all we want to know
of Harmony in sketching from Nature; a more intricate
CONTRAST.
out how fax it affects the Sketches although its principal
use has reference to the finished picture.
Harmony is the art of uniting the extremes of light and
shadow or of warm and cool colour in a picture by the
introduction of such intermediate tones as will subdue the
crudeness of effect caused by the use of opposites alone
and unbroken. The crude masses of light are broken
down by introducing half-lights, winch partially unite them
to the dark masses; and the strong and positive raw
colours in contrast are united by a half-tint made of the
colours so opposed. Thus the primary colours (red,
yellow, and blue) are opposed or in contrast to the
secondaries, (green, purple, and orange) respectively, when
standing together, but become united and harmonised by
the friendly intervention of a neutral interposed between
them. This is the case with all compound tints, however
far removed from the primary colours and first mixtures,
the qualities of colour being always brought out by
harmonious opposition; but a further mixture beyond the
tertiaries (citrine, olive and russet) without great caution
produces blackness, as the degrees of neutrality are then
scarcely observable.
Harmony, then, consists in using such neutrals between
those colours or tones that are opposed, as may diminish
the violence of the contrast and conceal the aim of the
artist in bringing them together, winch would otherwise be
so obvious as not only to offend the eye, but to diminish
the interest of the picture. This is all we want to know
of Harmony in sketching from Nature; a more intricate