. Frank Brangwyn and his work. 1911 . on of light, composed ofthe same elements as the suns rays, a sensation ofluminous air would be attained inevitably in paint bytruthful values, or by using the seven tints of thespectrum in spots of colour juxtaposed, leaving theirindividual rays of light to blend when we look towardsthem at a certain distance ; and yet, somehow, anyhow,that blending often produces sunny colour without thespaciousness of air. In other words, light and colourvery often are antagonistic to each other in you attain both at the same time, it is aninspiration, lik
. Frank Brangwyn and his work. 1911 . on of light, composed ofthe same elements as the suns rays, a sensation ofluminous air would be attained inevitably in paint bytruthful values, or by using the seven tints of thespectrum in spots of colour juxtaposed, leaving theirindividual rays of light to blend when we look towardsthem at a certain distance ; and yet, somehow, anyhow,that blending often produces sunny colour without thespaciousness of air. In other words, light and colourvery often are antagonistic to each other in you attain both at the same time, it is aninspiration, like music. This point the French Impressionists often we learn from their principles that atmosphereis the real subject of a picture, since everything repre-sented upon it exists only through its medium ; whenwe hear from Manet that colour is light, and light theprincipal person in a painting, we remember picturesof theirs in which there is considerably less light than THE BRASS from the lar^e IIIK MUASS SHOPRcproJucfii front t/it- iar^f OiI-nifiti/t^ Liqht and Colour we find in a clear sky by Cuyp, in the palest landscapeby Corot, or in a tinted water-colour by Cozens. Forit is genius acting impulsively, not reason workingscientifically, that permeates paint with wind-blown airor with sunned atmosphere. Art pours air with sun-shine into many a monochrome, then she declines to receiveit when you offer her, orchestrated, the seven tints ofthe spectrum. You rub in a sky or a background,taking no trouble at all, and it is full of light, of air; day you try to paint it, and your work looks ashard as lead or as uninviting as cotton-wool. Thesematters are beyond explanation ; but we may take it asan axiom that intense light in painting is apt to look air-less. Do you not feel that in Norwegian pictures, whenyour eyes ache for some relief from the unmysteriousgleaming of far-off waters and hills? And then, as tothe action of brilliant sun
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