. The W. Martin Johnson school of art. Elementary instruction in color, perspective, lights and shadows, pen drawing and composition. elves with pure reds, blues,yellows, and the effect is startling. But civilizationrefines the eye and we prefer the more delicate com-binations. A connoisseur will choose an antique Per-sian rug because it is fine in color harmony. A brightnew rug will appeal to the novice as preferable, butafter his eye has become cultivated he will select theone less brilliant. In some of the paintings of the oldmasters the colors were probably once discordant, buttime and man
. The W. Martin Johnson school of art. Elementary instruction in color, perspective, lights and shadows, pen drawing and composition. elves with pure reds, blues,yellows, and the effect is startling. But civilizationrefines the eye and we prefer the more delicate com-binations. A connoisseur will choose an antique Per-sian rug because it is fine in color harmony. A brightnew rug will appeal to the novice as preferable, butafter his eye has become cultivated he will select theone less brilliant. In some of the paintings of the oldmasters the colors were probably once discordant, buttime and many coats of varnish have lowered the tonesand made them mellow and agreeable. Color is associated with life and warmth. As colorfades it presages death. Colors are referred to aswarm colors and cool colors, but any color may bemade to appear warm or cool by its and red are considered the warm colors; bluethe cool color. By adding blue to yellow, green is theresult. If the yellow predominates in the green it iswarm; if blue, it is cool. The more blue, the coolerthe green. Red and blue make violet. A red violet. CATHEDRAL, ANTWERP DESCENT FROM THE CROSS By Rubens (1577-1640)The best known and appreciated religious painting in the world is warm; a blue violet cool. But a cool violetor a cool green surrounded by a colder violet ora colder green or by pure blue appears warm bycontrast. Color as used by the artist has decided pigment approaches the brilliancy of reflectedwhite from a piece of paper in sunlight, and none willequal the depth of profound shadow. We are obligedto use what we can get and rely upon contrastto heighten effects. Red is intensified by green,blue by orange, yellow by violet. The gamut ofcolor at our command seems insufficient alongsidenature, but by concentration and gradation we cansuggest the more vivid hues. Modern painters have succeeded in securing effectsof diffused light that were never attained by the oldmasters, and t
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