. A treatise on painting : In four parts ... The whole illustrated by examples from the Italian, Venetian, Flemish, and Dutch schools. dued tones ofRembrandt, for the sake of imitating a particular effect of sunshine. In this composition the strong darks and lights are of the mostpowerful character, and are brought in contact in the most cuttingmanner in the centre of the group. The black is extended by the hatof the figure sitting at the window, and the trunk behind the door ; alsorepeated by the black frame. The principal light is composed of thelight dresses of the females, and is extended
. A treatise on painting : In four parts ... The whole illustrated by examples from the Italian, Venetian, Flemish, and Dutch schools. dued tones ofRembrandt, for the sake of imitating a particular effect of sunshine. In this composition the strong darks and lights are of the mostpowerful character, and are brought in contact in the most cuttingmanner in the centre of the group. The black is extended by the hatof the figure sitting at the window, and the trunk behind the door ; alsorepeated by the black frame. The principal light is composed of thelight dresses of the females, and is extended and repeated by the lightin the closet, in the window, by the dog, and by the linen of the men ;and is diffused upon the wall. The mass of red, formed by the petticoatof the female sitting, keeps up with the powerful opposition of the blackand white; and contributes to the harmony, from its strength of colour,without destroying the consequence of either. It is repeated by the backof the chair, and by the cushion ; and is carried across by some warmcolour in the glass and upon the outer window frame. The yellow jacket 1 jPlate by J. forpwter i: Son, OldBond Street J627. ON COLOUR IN PAINTING. 01 makes a focus or point for the yellow colour of the table cover, and isdiffused by the floor, and the cabinet in the distant apartment. The blueupon the chair-cover, and the cool tint of the wall in the passage, andupon the window, constitute the cold colours of the picture. The darkwood this master generally keeps of a warm brown, to prevent its inter-fering with the value of his black dresses. We may observe the greatsimplicity of the whole arrangement; and that the darks, lights, andstrong colours take each agreeable forms ; which circumstance enablesthe artist to give them the greatest force of the palette, without offendingthe eye. The nearest object is here brought under the most distant;which is often the case with the Dutch masters, to assist the perspective.
Size: 1478px × 1691px
Photo credit: © The Reading Room / Alamy / Afripics
License: Licensed
Model Released: No
Keywords: ., bookcentury1800, bookdecade1830, booksubjectpainting, bookyear183
