Colour as a Means of Art.

by Frank Howard.

PREFACE.

In the Sketcher's Manual, the general principles of making pictures in black and white, or, as it is technically termed, in Chiaroscuro, have been briefly, but it is hoped distinctly, explained. The following work on Colouring proceeds upon the same method. It treats first of the arrangements of ma.s.ses of colours which have been established by various masters or schools, and which have been recognized as satisfactory or agreeable by the public voice; it then points out the abstract principles to which these several arrangements may be referred; and finally directs attention to the qualities of Colouring in Art which are requisite as regards the imitation of Nature. It does not profess to descend to details, for these require a considerable advance in the Art, and consequently could not possibly be rendered intelligible in any publication, because they would require the exercise of first-rate powers, to colour every individual impression of the plates. For examples of the details of colouring, the Amateur and the Student must be referred to the best pictures of the several masters whose general principles are herein exhibited. But it should be observed, that although the several masters, whose names have been brought forward in the present work, and in the Sketcher's Manual, as the originators of the several principles of Chiaroscuro and Colour, are generally distinguished by some exercise of the principles to which their names are attached, they have produced many and valuable works in other and very different styles. It is not intended to imply that all the works of these masters are constructed upon the same principles; still less is it intended to imply that the princ.i.p.al merit of these masters resides in the particular principle of picture-making, which they have mainly, if not entirely, contributed to develope; for this would reduce the art of painting to a "mechanical trade," or mere means of gratifying the eye. Least of all has it been intended to afford to critics a means of attack upon the modern masters, whose names have been introduced into these little works, as "painters of pictures on receipt, or on a principle of manufacture." The development of a new principle of Art, whether relating to Composition, Chiaroscuro, or Colour, is as meritorious and worthy of distinction as, if not more so than, the production of an able work upon the principles of Art previously established by others.

The author is fully sensible that _he_ must submit to criticism with respect to whatever he may place before the public; nor is he in the least disposed to complain of any censure of the _matter contained_ in the works, or of the _manner_ in which that matter is placed before the public. He can even afford to smile at the criticism that a work addressed to the AMATEUR and the STUDENT on Picture-making in Chiaroscuro, "will not make a Raffaelle or a t.i.tian," particularly as the great merit of the latter was colouring; and he may observe that he does not expect that even the present work, which is solely devoted to colouring, "will make a t.i.tian." It will be sufficient if he shall have placed in a tangible shape before the reader _some_ of the principles by which the effects of Colouring, and light and shade have been made, by certain masters, subservient to higher purposes;--the Art is but the means to an end. But the author feels that he has a right to complain of a criticism of his work, in which the _censures_ of the _critic_ upon _third_ parties are made to appear to have proceeded from the author; and he now begs to disclaim having said anything disrespectful either of Mr. Stanfield or Mr. Roberts, either directly or indirectly, as will be evident upon the inspection of the Sketcher's Manual.

And the author feels it necessary to remove an erroneous impression with respect to the nature and intention of these works, by stating, that they are expressly intended for the Amateur or the Beginner in Art; that they are not intended to be argumentative or controversial; nor are any matters introduced that require the support of argument, evidence, or authority, although these could easily be adduced, if requisite; but the desire of the author has been to lay before the Amateur such principles of Art as have received the sanction of years, and are universally appreciated by the public in their effects: and the only merit claimed is that of having brought them together in such a form as to distinguish them clearly; and to render the principles as evident as possible. But there is no pretension of limiting the whole Art of Colouring to the principles of Colouring contained herein.

For the method in which the plates of the present work have been executed, I am indebted to a recent improvement in Lithography, made by Mr. Hullmandell. It is capable of producing more nearly the effects of painting than any other style of engraving; but from these plates professing only to represent ma.s.ses of Colour and general tone, and being the first that have been attempted in this particular application, they are not calculated to display Mr. Hullmandell's improvement to advantage.

INTRODUCTION.

Sir Joshua Reynolds in one of his Discourses has stated, that the Edifice of Art has been gradually raised by the contributions of the great men of past ages, and that although every addition to knowledge required the exertion of a mind far in advance of its contemporaries to effect it, the results have now become the common property of all artists, and may easily be appropriated by every Student--"that much may now be taught, which it required vast genius to discover."

It will not be necessary to adduce any argument in support of this proposition. The difference of opinion will princ.i.p.ally refer to "what part can be taught?" And hereon there have been as great divisions and disputes as have arisen with regard to the part of the pig that was forbidden to be eaten by the followers of Mahomet; only it should be observed that the discussions have terminated in an almost opposite result; for whereas the whole pig was eaten, scarcely any of the Art has been taught.

Numerous works have been published and numerous methods of instruction adopted; but they are almost all directed to points of mechanical execution, or the representation of individual objects, which mainly depend upon skill.

Skill is the natural result of practice or fortunate organization, and will, of course, differ with the perseverance or capacity of the student, which has led to the persuasion that the productions of Art are dependent upon what is called natural genius.

But what is _known_ of Art may be as easily communicated as any other fact, and as easily acquired as a knowledge of history, or any other appeal to the memory, and is indispensable equally to the critic and to the amateur. On this subject there are few if any works; and it is rarely touched by professed teachers of the Art.

The method of private tuition at present in favour is, to make a drawing before the pupil, who is expected to appreciate the course of proceeding, and to imitate the effect.

Watching a drawing thus in progress, it will be observed that the greater part is done apparently without a thought; it appears to be literally at the "fingers' ends" of the artist: and this will be found to comprehend much, it not all that confers the effect of a picture.

But in what does this consist? Repeated practice, and continued study of works of art, will undoubtedly, _in time_, bring it to the "fingers' ends" of the student also, and it will insensibly become an inexplicable habit, manner or style. But this is, in fact, what may be taught or communicated in a short time; it is the knowledge resulting from the experience of ages,--the edifice built up of discoveries from time to time contributed to the fund of Art by the success and failures of our predecessors. This is the _knowledge_ or science of painting, which should precede all practice or attainment of skill, and such portion as relates to colouring, it is the intention of the present work to supply. Skill will follow as a result of the endeavour to make use of the means to produce the end--Pictures.

There has been, unfortunately, so great confusion in the use of the terms applicable to Colours, that it becomes difficult to convey any distinct information respecting them, without hazarding the charge of pedantry by limiting the signification of certain words. Tints, Tones, and Shades of Colour have been, and still are, too commonly used so indiscriminately to mean the same and different things, that no definite impression can be given, unless there exist a previous knowledge of the mode in which each word is applied. It will, therefore, be necessary to explain the meanings with which each word will be used in the present work.

TINTS are those specific and definite qualities of colours, by which the individuals of a cla.s.s are distinguished from each other: as of Reds; Scarlet, Crimson, Pink, Rose-colour, &c.: of Greens; Apple-green, Olive-green, Pea-green, &c.: of Yellows; Straw-colour, Amber, &c.: of Blues; Sky-blue, Garter-blue, Indigo, &c.

SHADES OF COLOUR imply the degree of brilliancy or depth, as bright or deep Crimson; light or dark Blue.

TONES OF COLOUR are of more general application, as indicating the general aspect of cla.s.ses of Tints or Shades; and especially designating the degree of warmth or coldness: as cool greens, warm greys. There may be lighter and darker _Shades_ of the same TONE, but not of the same TINT. Rose-colour and Crimson may be said to be lighter and darker shades of the same _Tone_.

The word Tone is also used by itself in opposition to crudity or rawness of colour; and hence is technically descriptive of the ternary compounds, of whatever tint or shade; while the primary colours and the binary compounds, Blue, Red and Yellow, and Purple, Orange and Green, are technically distinguished as Colour. The lighter shades of Tone in this sense are technically included under the term _Greys_; warm, as they contain Orange; cool, as they contain Purple or Green.

Tints and Tones are further cla.s.sed as _pure_, as they approach purple, and those tints observed in Mother of Pearl, hence, also pearly tints; warm or hot as they approach Orange; heavy, and unless they are exceedingly transparent, muddy, as they approach Green.

HALF-TINTS express those gradations of _colour_, and HALF-LIGHTS those gradations of _light_, between the greatest brilliancy and the shadows.

Colours are said to be SUPPORTED by others which present some resemblance, but are inferior in brilliancy; as blues by purples, crimsons by reddish-browns, yellows by orange:

--CONTRASTED by those which are the most opposite, as blues by orange or browns, reds by green, yellows by purples:

--BALANCED when by opposition they are so neutralized that no one appears princ.i.p.al or predominant.

The author of a recent publication on Colour is quite in error, when, in describing technical terms, he states "the Balance of Colouring is the harmony produced by _supporting_ one colour by _another_ introduced in _different parts_ of the picture, either _of the same colour_, or one approaching to it." This is SPREADING _a colour_ THROUGH the picture, and though it may _contribute_ to the balance of colouring by _contrasting_ and _neutralizing_ the _other_ colours in the work, it is in itself the very opposite of the _balance_ of _colouring_, as it consists entirely in loading one side of the beam.

To this it may be added that colours are said to be SUPPORTED by similar tints _adjacent_, and ECHOED by them when "in different parts of the picture."

There are many other errors in the book above-mentioned, but as this is not intended to be a controversial disquisition, those mistakes only will be noticed which might otherwise lead to confusion; but to the correction.

The definition of "MELLOWNESS," as "caused by those warm colours which, when blended, produce an agreeable _tone_ or _hue_, and would then be said to _sympathize_ and create _harmony_," is as incorrect and indefinite, as the remainder of the paragraph is without foundation:--"On the contrary, if, in mixing two or more colours, a disagreeable and harsh effect were produced, they would be said to have an _antipathy_, and create _rawness_--this adulteration of one colour by another causes what painters term a MUDDY effect." Painters term an effect _muddy_ when it is dirty in colour and wanting in transparency. This fancy respecting the sympathy and antipathy of certain colours, which is more distinctly alluded to in the following pa.s.sage:--"when, to produce a particular tint, the mixing of two colours which do not sympathize is unavoidable; one or more may be introduced whose sympathy is greater, that a pleasing and harmonious effect may be produced, &c."--this is wholly groundless. How the sympathy and antipathy alluded to are supposed to act is not very evident, but they have no existence whatever.

The definition of a "PEARLY HUE," as "obtained by softening or blending the _warm_ colours without adulterating one with the other,"

is equally liable to objection as untrue.

The attempt at a philosophical account of the _cause_ of the colours produced at sunset and sunrise, has been incidentally exposed in the third chapter of the present work. This error undoubtedly does not originate with the professed author of the publication alluded to; and as the greater part of the book is evidently, though without acknowledgment, compiled from Mr. Burnett and other writers on the subject, the other errors are probably in a great measure also the result of compilation.

CHAPTER I.

COLOURING AS A MEANS OF ART.

Colouring is the decorative part of Art. It answers to Rhythm and Rhyme in poetry, as the means of attracting the senses. As it is a means of producing, so its indispensable qualification is,--BEAUTY. In the higher aims of Art it should be made subservient to Character and Expression, by according with the nature of the subject; but, still under the limitation and regulation of those principles which govern Pictorial Effect. Under all circ.u.mstances, and to whatsoever purposes applied, the first qualification of Colouring as a means of Art is, that it should produce a Picture.

A picture has been elsewhere defined as an arrangement of one or more objects and accessories so as to afford an agreeable subject of Contemplation. And the principles which regulate Chiaroscuro and general arrangement for this purpose, have been pointed out. The same principles must regulate Colouring as a means of Art.

The mere representation of any object, however accurately detailed and coloured, does not const.i.tute a picture. It must be represented with accessories and under Pictorial Effect. This as regards Chiaroscuro has been shown to depend upon Breadth. As regards Colouring it depends upon Harmony.

CHAPTER I.

SECTION I.

HARMONY.

Harmony is a term borrowed from the sister Art of Music, to denote a degree of relation or congruity between two or more colours, so as mutually to support or develope each other's beauties, as is the case with a chord or concord of sounds. The degrees of relation, or qualification for harmony, of sounds, can be ascertained by mathematical calculation incapable of erroneous results. Not so, those of Colours; at least in the present state of the science of Optics. If it should be proved that colours are the effect of vibrations of the air, or any other fluid, as are sounds, the Harmony of Colours may equally become the subject of mathematical calculation, with equally certain results; at present we cannot go beyond rude approximations by guess or supposition; and are vaguely placed under the regulation of _Taste_, itself as Protean and undefined.

The theory of the three or seven colours being all equally necessary to each other, which has been derived from the division of the ray of light by a prism, has been supposed to afford the relative proportions of the various tints necessary to Harmony in a picture, _because existing in light_; and fanciful, but entirely unfounded, a.n.a.logies have been drawn by enthusiasts between the seven colours and the seven notes, and the three colours and the notes of the common chord in music: but without going into the question of how far this would be likely to a.s.sist in our present inquiry, _if true_, it may be sufficient to observe that these relative proportions _vary_ with the substance of the prism by means of which the ray of light is divided; so that the whole induction falls to the ground.

But were the proportions always the same, the induction would be equally untenable. For, though light may be very beautiful; and the Rainbow may be very beautiful; a totally different kind of beauty is required for a picture. The colours of the Rainbow may perfectly harmonize; but it is more than doubtful whether the person whose whole picture was a representation of a Rainbow, would be considered to have produced a finely coloured work of Art.

Harmony, in Pictorial Colour, does not depend upon any particular proportionate quant.i.ties of the different tints; nor in any particular disposition or arrangement of them; but upon the qualities and the treatment of the individual colours. A picture may be painted with every variety of the most brilliant colours; or, on the other hand, as Rembrandt treated light, the work may contain only one small spark of colour, the remainder being made up of neutral tints; and even the small spark of colour may be dispensed with, and the whole picture be made up of a variety of tones.

Having dwelt so much in the Sketcher's Manual, upon the principle of Breadth being indispensable for the production of Pictorial Effect, it will scarcely be requisite to point out that it is equally necessary that Colours should be so treated as to produce _Unity_; and that, as with lights and shadows, so whatever variety of tints may be introduced into a picture, they must be so blended and incorporated with each other, that they still form parts of a whole;--that whether the lights be white, and the shadows black, or differently coloured, the same necessity for graduation remains; so that Colours must not be in flat patches. And in the treatment of Colours, besides the graduation requisite for Breadth of Chiaroscuro, it is necessary to pay attention to the peculiar quality termed TONE, which is indispensable in a coloured Work of Art.