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) (14760788456).jpg

Identifier: theorypracticeof00barn (find matches)
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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representing such rough blots in printing,they will serve to explain the principle under consideration. In Fig. 1, thewarm colours are massed together in a simple way,—the yellow and bluesmall in quantity, the red large and contrasted with its complementarycolour green. Fig. 2 might represent a group of fruit, flowers, &c.; a largemass of warm colours, gradated in some degree from white passing intocold, which is repeated in a slight form in the sky. In Fig. 3, the warmcolours are kept on the figure ; the brightest and most advancing about thehead, where they are contrasted with white and black. The whole mass issurrounded by cooler tones, which are brought to a focus on the jug. InFig. 4, the arrangement of colours is reversed, the cool being kept in a massin the centre, surrounded by warmer tones of different degrees of intensity.In both these modes of using colours,—namely, that of producing harmonyby placing them, slightly varied, side by side, and that of contrasting some
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CONTRASTS OF COLOUR. 273 of them with others known to increase their power in consequence of thecomplementary action,—attention must be paid to preservation of breadth;avoiding, however, insipidity and dullness on the one hand, or crudeness andvulgarity on the other. One important point ought to be noticed, namely,that if the harmony resulting from blending or floating various pigments intoeach other be employed, it is only necessary to preserve the general purity oftone; but if the effect is to be gained by simultaneous contrast, the colours,must be extremely pure, and well considered in reference to the scale ofcontrasts. They will then increase in power as they approach one another;but if they are allowed to mingle or float over each other, the effect will belost: thus, if red and green are pure and in contact, a brilliant effect wdl beobtained ; whereas if they are mixed, nothing but a dull heavy green will bethe result. In studying the effect of simultaneous contrasts, it is be

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