The early work of Raphael . 3 •*-* ^ oq ^4 cq ?^ ^ •-<*• ~^» k. 3S & £ Jv •— ^J <=q «s -^ ^ to ^ ^ <<5 s; *l . ?fc» > *-» ~v, *«** 54 S5 ^. (x «s £«l «3 THE ART OF WILLIAM QUILLER ORCHARDSON 77 About his colour there may be more dispute. Occasionally it risesto a very high level indeed, as in the Voltaire, and such less ambitious. Mrs. permission of Mrs. Joseph. things as A Tender Chord and Music when Sweet Voices die. In hisearly period it was full of the most delicate grays, and was as a rule 78 THE ART OF WILLIAM QUILLER ORCHARDSON silvery in tone. I have already qu
The early work of Raphael . 3 •*-* ^ oq ^4 cq ?^ ^ •-<*• ~^» k. 3S & £ Jv •— ^J <=q «s -^ ^ to ^ ^ <<5 s; *l . ?fc» > *-» ~v, *«** 54 S5 ^. (x «s £«l «3 THE ART OF WILLIAM QUILLER ORCHARDSON 77 About his colour there may be more dispute. Occasionally it risesto a very high level indeed, as in the Voltaire, and such less ambitious. Mrs. permission of Mrs. Joseph. things as A Tender Chord and Music when Sweet Voices die. In hisearly period it was full of the most delicate grays, and was as a rule 78 THE ART OF WILLIAM QUILLER ORCHARDSON silvery in tone. I have already quoted the similitude found for it byMons. Ernest Chesneau, which so happily characterized the harmonies ofgreen, gray, gray-brown, and blue we find in so many of his picturesbefore 1880. Since that date a tendency towards a brassy yellow hasoccasionally over-asserted itself, and perhaps he has been a little over-fond of schemes in which the chief and all the minor parts were playedby a brownish buff! But when at his best, as in the three pictures justnamed, Orchardson has no superior as a colourist. Just now, when weso often hear the painter restricted in theory to a bare imitation of naturalcolour, this assertion will not find general acceptance. And yet theobjectors themselves will go down on their knees before the Bacchus andAriadne of
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Keywords: ., bookcentury1800, bookde, booksubjectraphael14831520, bookyear1895
