DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.19751#0179
OX EFFECT.
117
tains the water of a brilliant red, the contrast between it
and the bright green of the foliage which surrounds it,
would have been so forcible that it would, by becoming
a prominent feature in the drawing, continually attract
the eye from the principal object, and thereby destroy
the repose; for the student must recollect that two prin- "
cipal objects of equal force or size, or of the same colour,
ought never to exist in a picture, but that one object,
whatever it may be, ought to be the principal, and all
the rest subservient to it.
Much however will depend on the nature of the sub-
ject of which the drawing is composed. In portraits,
the effect is often thrown on the face, every other part
being made as little prominent as possible, whilst, on
the contrary, in landscape, many of the objects ap-
proach near to that of the principal one, not only in
colour but also in force.
In considering the effect of colours, particular regard
must be had to the kind of weather which is supposed to
be represented, if the subject be a landscape; and in
other subjects, what the nature of the object is which
gives the light, whether it be the sun, fire, or candle,
and whether the light be reflected or direct, and if re-
flected whether from a warm coloured object or cold co-
loured object, as it is on the nature of the light that that
general hue which gives harmony to a picture depends ;
for example, suppose the subject is a landscape, in
which the setting sun, amid red and yellow clouds, is
the object which gives the light; in this case, the light
side of every object wall possess a warm yellow tint, and
117
tains the water of a brilliant red, the contrast between it
and the bright green of the foliage which surrounds it,
would have been so forcible that it would, by becoming
a prominent feature in the drawing, continually attract
the eye from the principal object, and thereby destroy
the repose; for the student must recollect that two prin- "
cipal objects of equal force or size, or of the same colour,
ought never to exist in a picture, but that one object,
whatever it may be, ought to be the principal, and all
the rest subservient to it.
Much however will depend on the nature of the sub-
ject of which the drawing is composed. In portraits,
the effect is often thrown on the face, every other part
being made as little prominent as possible, whilst, on
the contrary, in landscape, many of the objects ap-
proach near to that of the principal one, not only in
colour but also in force.
In considering the effect of colours, particular regard
must be had to the kind of weather which is supposed to
be represented, if the subject be a landscape; and in
other subjects, what the nature of the object is which
gives the light, whether it be the sun, fire, or candle,
and whether the light be reflected or direct, and if re-
flected whether from a warm coloured object or cold co-
loured object, as it is on the nature of the light that that
general hue which gives harmony to a picture depends ;
for example, suppose the subject is a landscape, in
which the setting sun, amid red and yellow clouds, is
the object which gives the light; in this case, the light
side of every object wall possess a warm yellow tint, and