The principles of colouring in painting, by Charles Martel1855 |
Overige edities - Alles bekijken
The Principles of Colouring in Painting, by Charles Martel Thomas Delf Geen voorbeeld beschikbaar - 2015 |
The Principles of Colouring in Painting, by Charles Martel Thomas Delf Geen voorbeeld beschikbaar - 2018 |
The Principles of Colouring in Painting, by Charles Martel Thomas Delf Geen voorbeeld beschikbaar - 2019 |
Veelvoorkomende woorden en zinsdelen
absolute colouring accessories ærial perspective agreeable appear redder artist assorted aureola black hair cation chiaroscuro circle is surrounded colour complementary coloured bodies coloured glass coloured light coloured materials coloured objects coloured rays coloured stuff COLOURING IN PAINTING complementary colour contrast of colours contrast of tone different colours diffused daylight drapery evident fair complexions favourable flat tints Fourth modification half-sheet harmonies of analogy harmonies of colours harmony of contrast hues imitation juxtaposition law of contrast law of simultaneous light and shade light tones linear perspective mixed contrast mixture modifications of light MODIFICATIONS PRODUCED neutralized orange painter painting in flat perceive perfect colourist physiognomy picture pigments pink predominating primary colours principle produces the effect pure colour reproduce result rosy complexions scale simultaneous contrast simultaneous view spectator suitable suits a brunette surface threads tints and shades Titian trimmed with white true or absolute violet weft white bonnet white flowers white stripe
Populaire passages
Pagina 43 - Now what do we learn by the law of simultaneous contrast of colours ? It is, that when we regard attentively two coloured objects at the same time, neither of them appears of the colour...
Pagina 49 - A very natural result, if we consider that the paler the yellow, the greener it appears. 6. Put beside each other two flat tints of different tones of the same colour, chiaro'scuro is produced, because, in setting out from the line of juxtaposition, the tint of the band of the highest tone is insensibly enfeebled, while, setting out from the same line, the tint of the band of the lowest tone becomes heightened; thus there is a true gradation of light. The same gradation takes place in all the juxtapositions...
Pagina 48 - ... for example, a light blue placed beside a yellow, tinges it orange, and consequently heightens its tone, while there are some blues so dark relatively to the yellow, that they weaken it, and not only hide the orange tint, but even cause sensitive eyes to feel that the yellow is rather green than orange, a very natural result if we consider that the paler the yellow becomes, the more it tends to appear green.
Pagina 59 - Black draperies, lowering the tone of the colors with which they are in juxtaposition, whiten the skin ; but if the vermilion or rosy parts are to a certain point distant from the drapery, it will follow that, although lowered in tone, they appear relatively to the white parts of the skin contiguous to this same drapery redder than if the contiguity to the black did not exist.
Pagina 59 - Violet, the complementary of yellow, produces contrary effects ; thus, it imparts some greenish-yellow to fair complexions. It augments the yellow tint of yellow and orange skins. The little blue ' there may be in a complexion it makes green. Violet, then, is one of the least...
Pagina 44 - We can establish three conditions in the appearance of the same object relative to the state of the eye ; in the first, the organ simply perceives the image of the object without taking into account the distribution of colours, light, and shade ; in the second, the spectator, seeking to properly understand this distribution, observes it attentively, and it is then that the object presents to him all the phenomena of simultaneous contrast of tone and colour which it is capable of exciting in us. In...
Pagina 58 - Yellow imparts violet to a fair skin, and in this view it is less favorable than a delicate green. To those skins which are more yellow than orange, it imparts white ; but this combination is very dull and heavy for a fair complexion. When the skin is tinted more with orange than yellow, we can make it roseate by neutralizing the yellow.
Pagina 50 - ... the artist can choose the colour of the sky, imagine numerous accidental effects, introduce into his composition animals, draped figures, carriages, &c., the form and colour of which may be selected in such manner as to produce the best possible effect with the objects peculiar to the scene. (346.) A painter is also master of his choice in a dominant colour, which produces upon every object in his composition the same effect as if they were illuminated by a light of the same colour, or, what...
Pagina 48 - ... 5. To put a dark colour near a different, but lighter colour, is to heighten the tone of the first, and to lower that of the second, independently of the modification resulting from the mixture of the complementaries. An important consequence of this principle is, that the first effect may neutralize the second, or even oppose it.
Pagina 4 - CHEVREUL on Colour. Containing the Principles of Harmony and Contrast of Colours, and their Application to the Arts ; including Painting, Decoration, Tapestries, Carpets, Mosaics, Glazing, Staining, Calico Printing, Letterpress Printing, Map Colouring, Dress, Landscape and Flower Gardening, &c. Trans, by C. Martel. Several Plates. With an additional series of 16 Plates in Colours, 7$.