The Mind of the Artist Part 12

Skilful as he was in these arts, he executed nothing which he had not modelled.

_Pasiteles._

Cx.x.xIX

Don't _invent_ arrangements, select them, leaving out what you consider to be unimportant, and above all things don't be influenced in the arrangements you select by any pictures you may see, except perhaps the j.a.panese.

_C. W. Furse._

Cx.x.xIXa

He alone can conceive and compose who sees the whole at once before him.

_Fuseli._

COLOUR

CXL

He who desires to be a painter must learn to rule the black, and red, and white.

_t.i.tian._

CXLI

There is the black which is old and the black which is fresh, l.u.s.trous black and dull black, black in sunlight and black in shadow. For the old black, one must use an admixture of red; for the fresh black, an admixture of blue; for the dull black, an admixture of white; for l.u.s.trous black, gum must be added; black in sunlight must have grey reflections.

_Hokusai._

CXLII

When you are painting put a piece of black velvet between your eye and nature; by this means you will easily convince yourself that in nature everything is blond, even the dark trunks of trees relieved against the sky. Black, when it is in shadow, is strong in tone, but ceases to be black.

_Dutilleux._

CXLIII

The Variation of Colour in uneven Superficies, is what confounds an unskilful Painter; but if he takes Care to mark the Outlines of his Superficie, and the Seat of his Lights, he will find the true Colouring no such difficult matter: For first he will alter the Superficies properly as far as the Line of Separation, either with White or Black sparingly as only with gentle Dew; then he will in the same Manner bedew the other Side of the Line, if I may be allowed the expression, then this again and so on by turns, till the light Side is brightened with more transparent Colour, and the same Colour on the other Side dies away like Smoak into an easy Shade. But you should always remember, that no Superficie should ever be made so white that you cannot make it still brighter: Even in Painting the whitest Cloaths you should abstain from coming near the strongest of that Colour; because the Painter has nothing but White wherewith to imitate the Polish of the most s.h.i.+ning Superficie whatsoever, as I know of none but Black with which he can represent the utmost Shade and Obscurity of Night. For this Reason, when he paints a white Habit, he should take one of the four Kinds of Colours that are clear and open; and so again in painting any black Habit, let him use another Extream, but not absolute Black, as for Instance, the Colour of the Sea where it is very deep, which is extreamly dark. In a Word, this Composition of Black and White has so much Power, that when practised with Art and Method, it is capable of representing in Painting the Superficie either of Gold or of Silver, and even of the clearest Gla.s.s. Those Painters, therefore, are greatly to be condemned, who make use of White immoderately and of Black without Judgment; for which reason I could wish that the Painters were obliged to buy their White at a greater Price than the most costly Gems, and that both White and Black were to be made of those Pearls which Cleopatra dissolved in Vinegar; that they might be more chary of it.

_Leon Battista Alberti._

[Ill.u.s.tration: _Signorelli_ THE MUSIC OF PAN _Hanfstaengl_]

CXLIV

A word as to colour. One can only give warnings against possible faults; it is clearly impossible to teach colour by words, even ever so little of it, though it can be taught in a workshop, at least partially. Well, I should say, be rather restrained than over-luxurious in colour, or you weary the eye. Do not attempt over-refinements in colour, but be frank and simple. If you look at the pieces of colouring that most delight you in ornamental work, as, _e.g._ a Persian carpet, or an illuminated book of the Middle Ages, and a.n.a.lyse its elements, you will, if you are not used to the work, be surprised at the simplicity of it, the few tints used, the modesty of the tints, and therewithal the clearness and precision of all boundary lines. In all fine flat colouring there are regular systems of dividing colour from colour. Above all, don't attempt iridescent blendings of colour, which look like decomposition. They are about as much as possible the reverse of useful.

_William Morris._

CXLV

After seeing all the fine pictures in France, Italy, and Germany, one must come to this conclusion--that _colour_, if not the first, is at least an essential quality in painting. No master has as yet maintained his ground beyond his own time without it. But in oil painting it is richness and depth alone that can do justice to the material. Upon this subject every prejudice with which I left home is, if anything, not only confirmed but increased. What Sir Joshua wrote, and what our friend Sir George so often supported, _was right_; and after seeing what I have seen, I am not now to be _talked_ out of it.

With us, as you know, every young exhibitor with pink, white, and blue, thinks himself a colourist like t.i.tian; than whom perhaps no painter is more misrepresented or misunderstood. I saw myself at Florence his famous Venus upon an easel, with Kirkup and Wallis by me. This picture, so often copied, and every copy a fresh mistake, is, what I expected it to be, deep yet brilliant; indescribable in its hues, yet simple beyond example in its execution and its colouring. Its flesh (O how our friends at home would stare!) is a simple, sober, mixed-up tint, and apparently, like your skies, completed while wet. No scratchings, no hatchings, no sc.u.mbling nor multiplicity of repet.i.tions--no ultramarine lakes nor vermilions--not even a mark of the brush visible; all seemed melted in the fat and glowing ma.s.s, solid yet transparent, giving the nearest approach to life that the painter's art has ever yet reached.

_Wilkie._

CXLVI

In painting, get the main tones first. Do not forget that white by itself should be used very sparingly; to make anything of a beautiful colour, accentuate the tones clearly, lay them fresh and in facets; no compromise with ambiguous and false tones; colour in nature is a mixture of single tones adapted to one another.

_Cha.s.seriau._

CXLVII

A thing to remember always: avoid greenish tones.

_Cha.s.seriau._

CXLVIII

One is a colourist by values, by colour and light; there are colourists who are luminarists as there are colourists pure and simple. t.i.tian is a colourist but not a luminarist, while Correggio is a colourist and a luminarist.

The simple colourists are those who content themselves with representing the tones in their value and colour without troubling about the magic of light; they also give to tones all their intensity.

The luminarists, as the word indicates, make light the most important thing. Three names will make you understand; Rembrandt, Correggio, and Claude Lorraine.

Claude, taking the light of the sun for a starting-point, justifies his method by nature: you know that he starts from a luminous point, and that point is the sun. To make this brilliant you must make great sacrifices, for you have no doubt remarked that we painters always begin with a half-tint; as our paintings are not brightened by the light of the sun, and start with a half-tint, it is necessary by the magic of tones to make this half-tint s.h.i.+ne like a luminous thing. You see that it is a difficult problem to solve; how does Claude do it? He does not copy the exact tones of nature, since beginning with a dull one, he is obliged to make it luminous. He transposes as in music; he observes all things const.i.tuting light, remarks that the rays prevent us from seizing the outline of a bright object, that then the flame is enveloped by a bright halo; then by a second one less vivid, and so on until the tones become dull and sombre. In short, to make myself understood, his picture seen from distance represents a flame.

Correggio also works in this way. Take for example his picture of Antiope.

The woman, enveloped in a panther skin, is as bright as a flame. The soft red tone forms the first halo, then the light blue draperies with a slight greenish tint form the second halo. The Satyr has a value a few degrees below that of the draperies, making it the third halo. When the bouquet is thus formed, Correggio surrounds it with beautiful dark leaves, shading towards the extremities of the canvas. These gradations are so well observed, that if you put the picture at so great a distance that you cannot see the figures, you will still have the representation of light.

_Couture._