File:The Family by Ivan Olinsky.jpg

Identifier: painterspictures00neuh (find matches)
Title: Painters, pictures and the people
Year: 1918 (1910s)
Authors: Neuhaus, Eugen, 1879-1963
Subjects: Painting Art
Publisher: San Francisco : Philopolis press
Contributing Library: University of California Libraries
Digitizing Sponsor: MSN

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y by accident.She was put there with a purpose. The generaltonality of the picture is blue-grey-green. It isbathed in silvery tones, which for emphasis arecontrasted with the little spot of vermillion soeffective in the picture. Leave out this red noteand the picture will be dull and dreary. Manyboutonnieres in well-known portraits, small bitsof colorful jewelry, bright scarfs, give life topictures which without them would be drearyin spite of their harmony. Naturally the effectsof these things in a picture are in principle thesame as in nature, where they are used the sameway, although sometimes with distressing effect,at the wrong place. But color, I say again, is soimportant that I shall have to deal with thesubject by itself. Every picture will disclose tothe student a concession to this law, which de-mands that the larger masses of harmoniouscolor of one type must be enlivened, even if onlyslightly, by a contrasting note of opposite orcomplementary color. It is its characteristic
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THE FAMILY PLATE XV From the Oil Painting by(VAN OLINSKY, A. N. A. HARMONY AND UNITY 97 kind of harmony more than anything else thatmakes a student, seeing a picture at a distance,know its painter, recognizing certain character-istics persistently running through his wholework. Moreover, what is true of one work isfound in practically all the works of one man. The painter who has found himself gives toall of his work a certain uniform quality whichin unmistakable in all of his work, no matterwhere we meet him. It is this quality by whichwe can often detect fraud in a picture, or assigncertain works to certain artists. Going into agallery of Fritz Thaulows, as we did at theExposition in San Francisco, we could see at aglance that a very small number of the picturesin the room were evidently not by this Norwe-gian but must be by somebody else, since intheir very nature they were out of harmonywith the rest. It is harmony which made theDuveneck gallery so enjoyable, continuity ofstyle in

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