The theory and practice of landscape painting in water-colours Illustrated by a series of twenty-six drawings and diagrams in colours, and numerous woodcuts . rig. i. 2G4 \ VIOLET OR PURPLE Fig. 2. contrasts are considered, the student must endeavour to attain a clear ideaof colours and their complementaries. In order to enable the student to prove by actual experiment that com-plementary colours do become visible to every one, with rare exceptions, four of the most striking si-multaneous contrasts areshown in Plates 24 and25. These diagrams, al-though small, producegr
The theory and practice of landscape painting in water-colours Illustrated by a series of twenty-six drawings and diagrams in colours, and numerous woodcuts . rig. i. 2G4 \ VIOLET OR PURPLE Fig. 2. contrasts are considered, the student must endeavour to attain a clear ideaof colours and their complementaries. In order to enable the student to prove by actual experiment that com-plementary colours do become visible to every one, with rare exceptions, four of the most striking si-multaneous contrasts areshown in Plates 24 and25. These diagrams, al-though small, producegreat effect on the eye ;they can also easily becopied, and the experi-ments enlarged or varied,by cutting out figures ofthe same proportions ingray paper, and pastingthem on tinted groundstwo feet square. It may be necessary to observe, that, after looking on afigure or wafer of any strong colour, whether primary or secondary, thecomplementary colour will always appear surrounding it, even when it isplaced on white paper; but in this case the quantity of light reflected bythe white ground will cause the appearance of the complementary colour tobe indistinct, and therefore it is better
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Keywords: ., bookcentury1800, bookdecade1870, booksubjectwatercolorpainting
