The Use of a Box of Colours Part 2

Sudden transitions, by producing _too much effect_, the lights being _too_ light, and the darks too dark, produce a hard, dry, a staring, and a vulgar appearance, for want of neutralizing their qualities, and bringing the parts more in _union_ with each other. This overwrought manner is princ.i.p.ally the cause of that common look so identified with the modern French school, the effect of too much relief.

On the other hand, nothing but flatness and _insipidity_ is the result of too softly _blending_ and uniting the light with the shadow, and the parts with one another, without that distinction and solidity const.i.tuting the arrangement that should bring the near and the remote together, in the treatment of the intermediate relations.

Light should be so skilfully woven into the shadow, as not to prejudice, but _a.s.sist_ its depth by its intrusion; this is of most essential consequence.

It is not necessary that the light should come in at one side of the picture, nor pa.s.s out at the other, as has been a.s.serted. It is, perhaps, better to attach ourselves to no particular theory: few theorists are good painters; their works, in general, bear a contradictory proportion to the opinions set forth in their speculations.

Sketching light and shade from nature (with a single colour, or a stump), teaches us to profit by every circ.u.mstance, natural or accidental. And these sketches, studied at home, teach us, in turn, at once to _compose_, and to extend the sphere of our observation;--it carries us to the doctrine of probable possibilities; and invests the meanest subject with attraction; the most infinite variety becomes simplicity upon these terms.

The light and shade of a picture should never bear the _same_ proportions; it should, in all instances, differ materially in quant.i.ty; a repet.i.tion of forms should always bear a different proportion in size, the one having a decided superiority over the other, or, the inevitable consequences will be, confusion.

Unconnected lights and shadows, that are too much defined, will have a _bald_, a chequered, or draught-board appearance.

In sketching from nature, I usually commence by rubbing in the _effect first_, and adding the details, or features of the scene, _afterwards_; mostly beginning with the centre, or else the point of sight, and working outwards, and upwards, and downwards, to the sides of the picture. But this can only come of extensive practice, or, at least, a power of grasping the _whole_ at once.

I have said that the first and princ.i.p.al part of art is Composition, or placing things together appropriately; the situation, motion, and expression of the figures; their shapes, and lights, and shadows, according. A perfect outline is of most consequence, and can only be acquired by study. Next to this, the situation, colour, and quant.i.ty of shadows; these being infinite, may be variously managed. At the same time, it requires much more observation and study to _shade_ a picture, than to merely draw the lines of it. No fixed rule can be given for this; but, after having got the outline free and flowing, endeavour, by various trials, on other bits of paper, to leave the _ma.s.ses_ of shadow and light _broad_, so as to convey an appearance of _s.p.a.ce_ and extent.

In the infinite gradations of shade, and the blending of them, nature has no determined law.

Objects out of doors, which receive the general light of the sky, and where the surrounding air gives light on _all_ sides, will look altogether different from the same objects drawn and shaded in a room, which would give dark shadows where in nature there are none. (_Plate 3, fig. 2._)

Without shadows, the forms of things would be unrevealed.

At different times of the day, objects will give shadows quite different in size and form, corresponding with the course of the sun. The difference of your own shadow exemplifies this, as well as the variation of the shadows in your room.

Direct your attention to the difference of the shadows thrown by candle-light; this luminary being _smaller_ than the object placed against it, would make a figure, cut from a card, two or three inches high, give a shadow on the wall the size of life.

Place any object in the sun, and turn it round to the north, south, east, and west, at different periods; and, observing the difference of shapes in the shadows, will be found excellent practice.

Placed in certain directions, the form of every thing may be inferred from its shadow.

The shadow of a person arriving, on an open door, will, if the sun is behind him, distinguish to the inmate the comer's ident.i.ty.

Shadow is most articulate and defined when the light is brightest, by reason of the _contrast_ formed by the light; and will always, under these circ.u.mstances, appear much stronger than it is; though it is not so strong, in reality, as shadow in cloudy weather, from its being more equalized with the light. Shadow is only, more or less, by _comparison_ with the brightness of the light. This is best explained by making a room dark by _degrees_, and holding up some object against the light as it _diminishes_, until it is quite dark.

The light of the sun always reflects a shadow _equal_ to the object which it projects on a parallel plane. The sun being larger than the body illumined, throws a shadow less than that body. On the contrary, the light of a candle, being less than the object reflected, produces the contrary effect, the shadow _increasing_ as it retires, not in parallels, but in _rays_, thrown by the light.

The figure and shape of a shadow is strictly defined by the form of the object producing it; as light occasions the existence of shadow. An excellent and well-turned remark is made by some writer on the subject, who says, 'It must be observed, that there are _two_ points to be made use of: one of them, the foot of the light, which is always taken on the plane the object is placed upon; the other, the luminous body, the rule being common to the sun, torch, &c. with this difference, that the sun's shadow is projected in parallels, and that of the torch in _rays_, from the centre, as before mentioned. But as all objects on earth are so small in comparison of the sun, the diminution of their shadows is imperceptible to the eye, which sees them all _equal_, neither broader nor narrower than the object that forms them. On this account, all the shadows made by the sun are made in parallels.'

'To find the shadow of any object whatever opposed to the sun, a line must be drawn from the top of the luminary, perpendicular to the plane where the foot of the luminary is to be taken; and from this, an occult line, to be drawn through one of the angles of the plane of the object; and another, from the sun to the same angle. The intersection of the two lines will express how far the shadow is to go. All the other lines must be drawn parallel hereto.'

The next thing to be considered is, an _appropriate_ effect of light or shadow, to be given to the scene, or object, treated.

Calmness and serenity are the result of _horizontal_ lights, or shadows; while the contrary is the effect of oblique, or abrupt and irregular; such as are seen in the stormy effects of Salvator Rosa, &c.

The sky and clouds are often resorted to for _effect_, when the landscape does not admit of sufficient. Again, less imposition thrown into the sky, will repose the landscape, when it happens to be invested with sufficient interest of itself.

Extending the repose of a work,--by throwing into the general ma.s.s of shadow a number of objects that may appear of the least consequence to the development of its story, and bringing those which should be most prominent boldly forth into the light, by projecting their forms from the hollows of the shadows, that may appear to teem with a mult.i.tude of mysterious forms, while the cutting edges and sharp lights of those projections come out in suns.h.i.+ne, depending solely on their vigorous _division_,--is one of the greatest difficulties in composition, and is princ.i.p.ally rendered so by the necessity of adapting its sympathies to the subject we would place before the beholder--by its agreeable disposition and management; at the same time preserving the utmost singleness of intention and simplicity, by avoiding confusion, and supporting its breadth by the shapes of the ma.s.ses of one and of the other. A very small portion of the light, striking some object placed in the shadow, will carry the light into it; while some point or figure, enveloped in shade or dark local colour, will be sufficient to convey the obscure parts into the luminous, and preserve the balance of the whole. (_Plate 3, fig. 2._)

The most complicated outline may by this means be reduced to the broadest effect of light and shade. And simple and palpable as this principle may seem, it may be pursued until the artist is enabled to _conceal_ entirely the art by which it is effected; until he feels that which he could not perhaps explain, but may paint in a language that all may read.

Sir Joshua Reynolds speaks of 'That breadth of light and shadow,--that art and management of uniting light to light, and shadow to shadow, so as to make the object rise out of the ground in the plenitude of effect.'

Outline is _cold_ and determined in its appearance, and would seem so though drawn with vermilion; and, from its being defined, carries away all idea of s.p.a.ce and extent with it. The greater the absence of outline, the greater will be the breadth. Where there is a necessity for much outline, large ma.s.ses of it must be collected into broad portions of the shadows and lights, which should be well diversified in their forms. (_Plate 5._)

Where light _joins_ darkness, the light and dark are most intense at their _junction_, arising from affinity of contrast. It is not necessary to enter into the phenomena of vision to prove the existence of any thing that will be found in this work, its details being drawn from every-day observation.

Light and Shade should always, I think, partake of the character of the subject: a _fete champetre_ should not be enveloped in the gloom of shadowy obscurity, any more than a storm piece should be clothed in the glories of suns.h.i.+ne.

When the composition consists of a number of objects, the best way is to single out those that should most attract, by giving them the highest quality of the light; while whole portions may be disposed of by connecting them in broad ma.s.ses of the secondary light, and further uniting them with the trees, buildings, or any other objects that occur, to extend its quant.i.ty; while the ma.s.ses of shadow are formed by the union of other several parts, the light mingling with and intersecting the shade, until the whole present an harmonious _breadth_. But to achieve this, so that the parts take agreeable forms--sustaining and supporting, and giving value to each other--is perhaps the _chef-d'oeuvre_ of the arduous arrangement of light and shade. (_Plate 2, fig. 5._)

If we require a large s.p.a.ce for repose, by getting the light at one or other side of the picture, the light should of necessity possess some striking quality, to compensate so great a sacrifice of s.p.a.ce; while a mult.i.tude of less important objects may find a mysterious locality in the reposing ma.s.s. (_Plate 2, figs. 1, 2._)

In some of Rembrandt's etchings, a very small but brilliant point of light is carried through the composition, by the softest gradations, into the intense depth of shadow, by striking the tops only of the figures, parts of architecture, &c., until completely lost. The princ.i.p.al light must never be placed in the centre, but either on one side or other.

A single ma.s.s of light will have the greatest force when brought in immediate contact with a dark background: so will a dark object tell with equal power when opposed to the strongest light. So a figure, clothed in black and white, and placed on one side of the foreground, will focus _all the other_ lights and shadows, which will immediately keep their places in the picture--so they be less in strength. In proportion to the number of forms in the composition, this rule may be equally applied to a group, if it agree in its outline, and does not disturb the ma.s.ses on which it depends for repose.

If the picture be generally light, or the greater part in half tint, a single object or point of dark will be often found sufficient to key the whole,--placed at the opposing angle on the side opposite the darkest part.

The outline of an object we would bring most forward should come out _cutting_ and strong from its surrounding shadow, while the other ma.s.ses will retire in proportion to the absence of the opposition of _density_ employed in preventing their approach. It may not be impossible that these few words convey the impression of what we mostly intend.

The small and immaterial lights, catching the edges of objects carried into the shadow, are of the greatest usefulness in giving depth and intensity to it, while they a.s.sist the work by carrying the communicating medium through it.

Carrying the shadow across the _middle_ of the subject is attended with many advantages; among which are, bringing the foreground into extreme vigour; furnis.h.i.+ng ourselves with greater facilities in getting away the background; and more readily obtaining distance and repose by blending the horizon with the clouds; while the figures are brought up in cutting relief against it. (_Plate 3._)

A ma.s.s of landscape in middle tint--such as a broken common, fields, clumps of foliage, &c.--sweeping across the picture at a third, or little more, its height from the bottom, with a bold tree or group printing its dark form on the lightest part of the sky, and lifting itself from a bright sunny bank laid on the bottom edge of the design, carried on by a dark object or two, with cutting lights and intense shadows in the weeds, stones, &c., of the foreground to support it, the clouds graduating upwards from the horizon and mingling with the middle s.p.a.ce at the opposite side of the princ.i.p.al group, seems to have been a favourite arrangement with Gaspar Poussan, Cuyp, and many of the Dutch, as at present it is with Turner, and many of the modern,--offering great advantages from the numerous scenes in nature for ever opening to our view through the broad ma.s.ses of shadow, flung from the pa.s.sing clouds across the country, and possessing every variety of tint, sobered and covered down by the extent and transparency of the shadows, while the brilliant lights come out with all the vigorous warmth the sun invests them with.

A walk into the fields, or across a heath, can scarcely be taken, when the clouds are floating along, without an effect corresponding with this being seen. A part of the princ.i.p.al group will sometimes be in light while the rest is in deep shadow, or may appear so from the different colours of the trees; in which case, it will blend more gently with the sky, and more intensely focus the depth of shadow, if the lighter colour be interposed between it and the sky, losing a little of its force, but gaining harmony and union, together with the advantage of carrying the warm colour of the foreground up into the foliage, and extending it more gradually through the clouds.

_Three_ lights, differing in strength--the _centre_ one the strongest--and placed at different angles, has universally been found an agreeable arrangement. This mode may be always pursued with a certain degree of success. The etchings and drawings after this manner are very numerous,--perhaps from its easy management.

As our senses are carried through the varieties of a tale, so the eye _must_ be diverted from any _particular_ object in a picture, by judiciously absorbing or bringing into notice the accessories necessary to complete the composition, without disturbing it, or prejudicing the princ.i.p.al. An harmonious intimacy with all the parts, and the _means_ of that intimacy rendered as imperceptible as possible, will absorb hardness in the ma.s.ses, and give distinctness and articulation to that which should predominate in acute solidity, all disjointed and unconnected appearances being carefully guarded against. Different arrangements of the same subject will be found the best means of exemplifying this.

The shadow of a cloud may accidentally be thrown over the greatest distance, while a sunbeam may suddenly illumine the middle s.p.a.ce or foreground: the distance then would be the darkest part of the picture.

Or a gleam of light may rest upon the distant mountains, while the middle s.p.a.ce and foreground may be in shadow; then the case would be reversed, the greatest spread of light occupying the farthest distance.

Even this arrangement has succeeded with some.

The highest defined light will be that which comes boldest off the darkest part of the ground. All others will decrease in proportion, as they mingle with the ground. And, as the aforesaid light is pure, so the darks will appear darker than they are. (_Plates 5, 6._)

That part of a body in light will be the brightest that is nearest to the luminary. In the theory of light, it often happens there are double and treble reflexes, which must be stronger than single ones, and the shadows of course proportionally faint. (_Plate 4._)

In proportion as reflected lights are thrown upon a darker or lighter ground, will their appearance be more or less brilliant. We deduce from this, that all those reflexes, that brighten up and play so harmoniously among the obscurity of shadows, must be in proportion to the strength of the light that occasions them. (_Plate 4._)

The light made to graduate too softly, by means of the half-tint, into the shadow, unless some part be boldly and cuttingly opposed to the other, will have a tame and insipid appearance, however sharp and forcible other portions of the work may be. (_Plates 3, 4._)

'_Fulness_ of effect is produced by melting and losing the shadows in a ground still darker than those shadows: whereas _relief_ is produced by opposing and separating the ground from the figure; either by light, or shadow, or colour.' (_Plate 3, fig. 2._)

Any thing intercepting the line of light upon an object, will render its shadows soft, and its lights beautifully blended.

Accidental shadows are those occasioned by objects interposed between the light and the surface reflected on. Natural shadows, those which the light connects with every opaque body. (_Plate 4, consists of natural and accidental shadows._)