File:A treatise on painting - In four parts The whole illustrated by examples from the Italian, Venetian, Flemish, and Dutch schools (1837) (14781261251).jpg

Identifier: treatiseonpainti00burn (find matches)
Title: A treatise on painting : In four parts ... The whole illustrated by examples from the Italian, Venetian, Flemish, and Dutch schools
Year: 1837 (1830s)
Authors: Burnet, John, 1784-1868
Subjects: Painting
Publisher: London : James Carpenter
Contributing Library: Getty Research Institute
Digitizing Sponsor: Getty Research Institute

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ignation; and we know that LordArundel was ambassador at the time of Rubens, and was afterwardspainted by him in England. The principal lights in the picture arecomposed of delicate colours, viz. the blue, gray, and yellow of the sky;white dog; head and hands of the lady; boys head; and hawk. Theprincipal mass of dark is the ladys black dress, diffused by the dull bluecurtain, jacket and sleeve of the dwarf, spots upon the dog, carpet, &c.On examining the colours of this picture, we find them divided into amass of hot and cold; the cool colour spread over the light is carriedinto the shadow side by the gray hawk, boys ruff, some cool gray incontact with his red dress, some blue figuring upon the carpet. Theyellow dress of the dwarf is repeated by the stockings of the boy andfigure behind being of the same colour, and some gold embroidery uponhis dress. The boys red dress, and carpet, make the principal mass ofred; it is brought in contact with the black, also by the chair being of
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ON COLOUR IN PAINTING. 57 the same colour, and carried over to the cool side of the picture by thered mantle of the arms upon the curtain, its strings and tassels. Wehere perceive the green situated between the blue and yellow ; and thered interwoven with the mass of dark. This practice of keeping his redon the shadow side of the picture Rubens learned of the Venetianpainters, as by its strength it would destroy the breadth of light, butsupports the shadows, and prevents them from being heavy. We mayalso notice that red is a colour falling into shadow when a picture isplaced in a faint light, and that in twilight it becomes a dark. This maybe one reason why black and red produce harmony, and contribute to therichness and strength of a work. If the shadow of a picture be supportedby warm colours, the effect must be splendid, even though the lightshould be cold ; but if the warm and strong colours be used in the light,and surrounded with cool colours, nothing will prevent the work fromb

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