This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1855 edition. Excerpt: ... The pictures of these great masters present to us gradations, more or less perfect, of light and shade, and such harmonies of colours, that it is impossible either to mistake, or not to admire them; and the idea, that so many pictures not more than twenty or five-and-twenty years old, painted by artists of ...
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This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1855 edition. Excerpt: ... The pictures of these great masters present to us gradations, more or less perfect, of light and shade, and such harmonies of colours, that it is impossible either to mistake, or not to admire them; and the idea, that so many pictures not more than twenty or five-and-twenty years old, painted by artists of undoubted skill, have lost in colour more than those of the old masters, also increases our admiration of the latter. UTILITY OF THE LAW OF SIMULTANEOUS CONTRAST OF COLOURS IN THE ART OF COLOURING. Having defined the principal modifications which bodies experience when they become evident to us by means of the white or coloured light they reflect, and having examined painting and defined colouring comformably with the study of these modifications, it now remains to speak of the law of contrast of colours, with respect to the advantages the painter will find in it when required. 1. To perceive promptly and surely the modifications of light on the model. 2. To imitate these modifications promptly and surely. 3. To harmonize the colours of a composition, and having regard to those which must necessarily be found in the imitation, because they are inherent in the nature of the objects he must reproduce. ARTICLE I. Utility of this law in enabling us to perceive promptly and surely the modifications of light on the model. The painter must know, and especially see, the modifications of white light, shade, and colours, which the model presents to him in the circumstances under which he would reproduce it. Now what do we learn from the law of simultaneous contrast of colours? It is this: --when we regard attentively two coloured objects at the same time, neither of them appears of the colour peculiar to it; that is to say, such as it would appear if..
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Add this copy of The Principles of Colouring in Painting, By Charles to cart. $13.85, new condition, Sold by Books2anywhere rated 5.0 out of 5 stars, ships from Fairford, GLOUCESTERSHIRE, UNITED KINGDOM, published 2019 by Hardpress Publishing.
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Add this copy of The Principles of Colouring in Painting, By Charles to cart. $69.16, good condition, Sold by Bonita rated 4.0 out of 5 stars, ships from Newport Coast, CA, UNITED STATES, published 2015 by Palala Press.