Theory of Colours — trans. Charles Lock Eastlake (1840)

The appearance on a large scale is known to every one; the painter, however, sees or believes he sees, the gradation in the slightest varieties of distance. He exemplifies it practically by making a distinction, for instance, in the features of a face according to their relative position as regards the plane of the picture. The direction of the light is attended to in like manner. This is considered to produce a gradation from side to side, while keeping has reference to depth, to the comparative distinctness of near and distant things.

871.

In proceeding to consider this subject, we assume that the painter is generally acquainted with our sketch of the theory of colours, and that he has made himself well acquainted with certain chapters and rubrics which especially concern him. He will thus be enabled to make use of theory as well as practice in recognising the principles of effect in nature, and in employing the means of art.

COLOUR IN GENERAL NATURE.

872.

The first indication of colour announces itself in nature together with the gradations of aërial perspective; for aërial perspective is intimately connected with the doctrine of semi-transparent mediums. We see the sky, distant objects and even comparatively near shadows, blue. At the same moment, the illuminating and illuminated objects appear yellow, gradually deepening to red. In many cases the physiological suggestion of contrasts comes into the account, and an entirely colourless landscape, by means of these assisting and counteracting tendencies, appears to our eyes completely coloured.

873.

Local colours are composed of the general elementary colours; but these are determined or specified according to the properties of substances and surfaces on which they appear: this specification is infinite.

874.

Thus, there is at once a great difference between silk and wool similarly dyed. Every kind of preparation and texture produces corresponding modifications. Roughness, smoothness, polish, all are to be considered.

875.

It is therefore one of the pernicious prejudices of art that the skilful painter must never attend to the material of draperies, but always represent, as it were, only abstract folds. Is not all characteristic variety thus done away with, and is the portrait of Leo X. less excellent because velvet, satin, and moreen, are imitated in their relative effect?

876.

In the productions of nature, colours appear more or less modified, specified, even individualised: this may be readily observed in minerals and plants, in the feathers of birds and the skins of beasts.

877.

The chief art of the painter is always to imitate the actual appearance of the definite hue, doing away with the recollection of the elementary ingredients of colour. This difficulty is in no instance greater than in the imitation of the surface of the human figure.

878.

The colour of flesh, as a whole, belongs to the active side, yet the bluish of the passive side mingles with it. The colour is altogether removed from the elementary state and neutralised by organisation.

879.

To bring the colouring of general nature into harmony with the colouring of a given object, will perhaps be more attainable for the judicious artist after the consideration of what has been pointed out in the foregoing theory. For the most fancifully beautiful and varied appearances may still be made true to the principles of nature.

CHARACTERISTIC COLOURING.

880.

The combination of coloured objects, as well as the colour of their ground, should depend on considerations which the artist pre-establishes for himself. Here a reference to the effect of colours singly or combined, on the feelings, is especially necessary. On this account the painter should possess himself with the idea of the general dualism, as well as of particular contrasts, not forgetting what has been adverted to with regard to the qualities of colours.

881.

The characteristic in colour may be comprehended under three leading rubrics, which we here define as the powerful, the soft, and the splendid.

882.

The first is produced by the preponderance of the active side, the second by that of the passive side, and the third by completeness, by the exhibition of the whole chromatic scale in due balance.

883.

The powerful impression is attained by yellow, yellow-red, and red, which last colour is to be arrested on the plus side. But little violet and blue, still less green, are admissible. The soft effect is produced by blue, violet, and red, which in this case is arrested on the minus side; a moderate addition of yellow and yellow-red, but much green may be admitted.

884.

If it is proposed to produce both these effects in their full significancy, the complemental colours may be excluded to a minimum, and only so much of them may be suffered to appear as is indispensable to convey an impression of completeness.

HARMONIOUS COLOURING.

885.

Although the two characteristic divisions as above defined may in some sense be also called harmonious, the harmonious effect, properly so called, only takes place when all the colours are exhibited together in due balance.

886.