The Painter in Oil; a Complete Treatise on the Principles and Technique Necessary to the Painting of Pictures in Oil Colors |
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The Painter in Oil; a Complete Treatise on the Principles and Technique ... Daniel Burleigh Parkhurst No preview available - 2011 |
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æsthetic Albrecht Dürer arrangement artist background balance beautiful begin better blue brush CADMIUM CADMIUM YELLOW canvas CHAPTER character chiaroscuro COBALT color and value colorist complementary color composition contrast dark detail direct drapery drawing easel effect everything expression fact figure flowers Frans Hals frottée Gerard Dou give glaze gray green harmony head idea important impressionist kind landscape less light and shade line and mass look luminosity MADDER material matter means nature never objects OCHRE out-doors out-of-doors paint painter palette permanent petal picture pigment pitch planes portrait pose possible practical principles proportion qualities RAW UMBER relation representation result ROSE MADDER scumble side simple sketch sort STRONTIAN student surface things tint tion tone true ture varnish whole WINSOR & NEWTON yellow
Popular passages
Page iv - A MANUAL FOR CHINA PAINTERS Being a Practical and Comprehensive Treatise on the Art of Painting China and Glass with Mineral Colors By Mrs.
Page iv - PAINTING By Grace Barton Allen With illustrations and cover design by the Author Also containing colored plates showing washes of modern water colors...
Page 123 - Know thyself," was the inscription over the Oracle at Delphi. And it is still the most difficult task any of us faces. But until you truly know yourself, strengths and weaknesses, know what you want to do and why you want to do it, you cannot succeed in any but the most superficial sense of the word.
Page 193 - It is a satisfaction to the artist to know that this is so ; because although he will never compose color-schemes by the aid of mathematics, it gives him solid ground to stand on, and it diminishes the assurance of the man who claims the right to assert his opinion on color because "one man's taste is as good as another's.
Page 204 - ... it, the waves or vibrations of the color rays blend by overlapping as they come side by side to the eye ; and so the color, made up of the two waves as they blend, is so much more vibrant and full of life. "Yellow and Purple."—It is this principle which is the cause of the peculiarity in the technique of certain "Impressionist
Page 92 - We, at any rate, hold ourselves morally bound to " try all things and hold fast to that which is good " ; and among public benefactors, we reckon him who explodes old error, as next in rank to him who discovers new truth.
Page 254 - Nature is economical. She puts her lights and darks only where she needs them.
Page 171 - ... it could not be a work of art at all: it would be merely a more or less exact representation of something, a mere prosaic description, the interest in which would lie wholly in the fact, and would perish whenever interest in the fact should cease.
Page 156 - The art of clair-obscure, therefore, teaches the painter the disposition and arrangement in general of his lights and darks, with all their degrees, extreme and intermediate, of tint and shade, both in single objects, as the parts of a picture, and in combination as one whole, so as to produce the best representation possible in the best manner possible; that is, so as to produce the most desirable effect upon the senses and spirit of the observers.
Page 155 - Italian compound word whose two parts, chiar and oscuro, signify simply bright and obscure, or light and dark. Hence the art or branch of art that bears the name regards all the relations of light and shade, and this independently of coloring, notwithstanding that in painting, coloring and the clair-obscure are of their very nature inseparable. The art of clair-obscure, therefore, teaches the painter the disposition and...