Howard, Frank: Colour, as a means of art: being an adaptation of the experience of professors to the practice of amateurs (London, 1838)

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These discoveries have been made from time to
time, and have each been adopted as principles by
different artists; and though admitting of con-
siderable variation in details, their effects have been
so evidently distinguished by the public as uniform
in general aspect, that they have been ranged in
classes or schools, to one of which any individual
work is instantly referred, by those who have even
a slight acquaintance with the Art.

By writers upon Art it has been very generally
contended, that there must be a balance of warm
and cold colours. A little consideration will shew,
that this, as well as all restrictive regulations, such
as that blue must not come in the front of the
picture, &c. are unfounded, or nearly the whole of
the Dutch school of landscape and interiors must
be condemned as wanting in Harmony, or bad
colourists ; for Ruysdael and Hobbima, Teniers
and Ostade, seem to have had a horror of warm
colours, while, on the other hand, Cuyp and Both
seem to have had an equal dread of cool tints. That
a balance of warm and cold colour is one principle
by which Pictorial Harmony may be obtained, is
perfectly true; and that there are various means of
balancing them is also true ; which affords