File:The theory and practice of landscape painting in water-colours. Illustrated by a series of twenty-six drawings and diagrams in colours, and numerous woodcuts (1871) (14597075989).jpg

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Title: The theory and practice of landscape painting in water-colours. Illustrated by a series of twenty-six drawings and diagrams in colours, and numerous woodcuts
Year: 1871 (1870s)
Authors: Barnard, George, 1807-1890
Subjects: Landscape painting Watercolor painting
Publisher: London : George Routledge & Sons
Contributing Library: Getty Research Institute
Digitizing Sponsor: Getty Research Institute

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d the accidental or comple-mentary colour of blue. It has a great variety of tones ; but these cannotbe represented in a diagram, owing to the difficulty of printing such delicatevariations, and the limited power of machinery as compared with theartists hand. GREEN (YELLOW AND BLUE). Green is generally considered as the mean between the other twosecondary colours, taking an intermediate position between light and shade.It is remarkably distinct and striking in its effects on the eye, being at thes.une time highly refreshing and soothing to that organ; it is far moreprevalent in nature than any other colour, though seldom seen in itspure and unmixed state. The green of nature accords well with blue,being harmonised therewith by the warm purple and gray tones of theatmosphere and distance. Nevertheless it is very doubtful whether apicture, having a preponderance of green, is ever truly popular, or evenpleasing to the eye, however true to nature. PRIMARY, SECONDARY, AND TERTIARY COLOURS.
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PLATE 3. ON THE PRIMITIVE COLOURS, AND THEIR COMPOUNDS. 21 PURPLE (RED AND BLUE). Purple is the coolest and darkest of the secondary colours. It possesses,in a high degree, the modest retiring qualities of the primary blue, withwhich it is most closely connected; and as the eye delights to dwell onthose colours which least fatigue it, perhaps purple may rank next to greenin the pleasure it affords. The varied purples, or warm grays, as the artiststerm them, are of the greatest use to the landscape-painter, in harmonisingthe aerial blue of the sky and distance with the richer tone of the fore-ground. To the six, i.e. the three primaries and the three secondaries, may beapplied the name of colours; because with indigo (which artists scarcelyconsider as a distinct colour, owing to its near approach to blue) they formthe seven prismatic colours of the spectrum. THE TERTIARY COLOURS, OR PRIMARY HUES. The tertiary compounds are hues composed of all the primary colours,one of those colours,

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