DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.19951#0050
40
TREATMENT OF PARTICULAR EFFECTS.
intention in this case from being too obvious. A flock of
sheep frequently and greatly accord with the character of
a rural or even of a rocky or mountainous scene; but they
should be carefully studied from nature, to have a good
effect. It is usually most judicious to place the figure or
group in some comparatively vacant portion of the compo-
sition, whereby the importance and the interest of the
scene arc mutually augmented.
A small portion of brilliant colour is frequently of the
greatest value in landscape; but without the aid of figures,
the painter might be unable to introduce it in a manner
sufficiently natural. Where, for instance, there is much
red or reddish-gray in the scene, a little bright Lake or
Vermillion placed over a layer of white in a portion of
drapery, will tone down or lower all the other red grada-
tions in the picture. Emerald Green, the brilliancy of
which cannot be equalled by any mixture of blue and
yellow, will in the same manner reduce the green gra-
dations.
Another important use of bright colour is derived from
the circumstance, that the hue of any one particular tint
may be materially increased by the immediate contrast of
it with its complimentary colour; as green by red; orange
by blue ; and purple by yellow.
OF THE TREATMENT OF PARTICULAR EFFECTS.
The term u Effects," as here used, is intended to express
the appearance of a landscape seen under a certain state
of the atmosphere; as a view taken during sunrise or
sunset, accompanied by rain or mist, or seen by the
light of the morning or evening twilight. Some of the
peculiarities attendant upon these appearances may be
most happily imitated by the water-colour painter, who
TREATMENT OF PARTICULAR EFFECTS.
intention in this case from being too obvious. A flock of
sheep frequently and greatly accord with the character of
a rural or even of a rocky or mountainous scene; but they
should be carefully studied from nature, to have a good
effect. It is usually most judicious to place the figure or
group in some comparatively vacant portion of the compo-
sition, whereby the importance and the interest of the
scene arc mutually augmented.
A small portion of brilliant colour is frequently of the
greatest value in landscape; but without the aid of figures,
the painter might be unable to introduce it in a manner
sufficiently natural. Where, for instance, there is much
red or reddish-gray in the scene, a little bright Lake or
Vermillion placed over a layer of white in a portion of
drapery, will tone down or lower all the other red grada-
tions in the picture. Emerald Green, the brilliancy of
which cannot be equalled by any mixture of blue and
yellow, will in the same manner reduce the green gra-
dations.
Another important use of bright colour is derived from
the circumstance, that the hue of any one particular tint
may be materially increased by the immediate contrast of
it with its complimentary colour; as green by red; orange
by blue ; and purple by yellow.
OF THE TREATMENT OF PARTICULAR EFFECTS.
The term u Effects," as here used, is intended to express
the appearance of a landscape seen under a certain state
of the atmosphere; as a view taken during sunrise or
sunset, accompanied by rain or mist, or seen by the
light of the morning or evening twilight. Some of the
peculiarities attendant upon these appearances may be
most happily imitated by the water-colour painter, who