. A treatise on painting : In four parts ... The whole illustrated by examples from the Italian, Venetian, Flemish, and Dutch schools. FuZ&sforf July LIOHT AND SHADE IN PAINTING. 17 The dark manner of Rembrandt has advantages over every other, if keptwithin due bounds, as it enables the painter to give a rich tone to hiscolours without their appearing heavy, which more feeble backgroundswould not admit of, unless the colours are to stand as darks instead oflights; accordingly we find Titian, Tintoretto, Giorgione, Rembrandt,and our own Reynolds, all swayed by the same opinion. Plate 1U
. A treatise on painting : In four parts ... The whole illustrated by examples from the Italian, Venetian, Flemish, and Dutch schools. FuZ&sforf July LIOHT AND SHADE IN PAINTING. 17 The dark manner of Rembrandt has advantages over every other, if keptwithin due bounds, as it enables the painter to give a rich tone to hiscolours without their appearing heavy, which more feeble backgroundswould not admit of, unless the colours are to stand as darks instead oflights; accordingly we find Titian, Tintoretto, Giorgione, Rembrandt,and our own Reynolds, all swayed by the same opinion. Plate 1U. Fig. 3. When the light part of the composition is placed upon the dark side ofthe background, and the dark part upon the light side, greater firmnessand solidity are produced, and a more equal balance is kept up. Thecontrary method has more breadth and softness of effect, but unless thelight part is of a different hue from the light ground upon which it maybe placed, and the dark part is of a warmer or colder tone than theshadow which surrounds it, there is a danger of their losing theirsubstance and becoming flat. Vandyck
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Keywords: ., bookcentury1800, bookdecade1830, booksubjectpainting, bookyear183
