Colour as a Means of Art Part 4

As it is impossible with pigments to rival the brightness of light, it has been found necessary to adopt some method of forcing the effect of colours, so as to conceal or to supply a compensation for this deficiency, and _apparently_ to produce the vigour of truth.

This has led to a division, which rivals in fierceness as in name, the feud of the Bianchi and the Neri of Italy, into two great schisms or factions of colourists, of whom, it is to be regretted, too many are apt to consider those of the opposite party as lost in the depths of absurdity. The hostility and contempt are quite mutual, and equally ungrounded.

A writer in Blackwood's Magazine of the Neri faction says, "We have received a prescriptive right to make war upon the rising heresy of light pictures, and we will wage it to the knife," or some such expressions.

Certain tones of colour have been found to be almost universally recognized as agreeables; and by the above mentioned cla.s.s of artists and critics, the Neri, it is held to be "fine colouring," to reduce every representation, without consideration of propriety, to these conventionally agreeable tones. Plate. Sir Joshua Reynolds commends a picture of a moonlight scene by Rubens, which is so rich in colour, that if you hide the moon it appears like a sunset.

The background of the far-famed Mercury, Venus and Cupid, by Corregio, in the National Gallery, and the sky of the Bacchus and Ariadne, by t.i.tian, in the same collection, are instances of this practice, the use of conventionally agreeable tones, which may be seen by every one.

It would be difficult to say what the former was meant for, except _background_ to the figures; and no one ever saw a sky such a blue as the latter. It irresistibly brings to mind the counter-criticism of a sceptic to the admiration of a landscape by Poussin, in which Sir ----, a wors.h.i.+pper of the old masters, was indulging:--"What I like so much is, it looks so _like_ an _old picture_."--"Yes," said the sceptic, "and the _sky_ looks as _old_ as the _rest_ of the _picture_, for you never see such a sky now-a-days."

The Neri apparently give up all hope of rivalling the brightness of nature; but by forcing the shadows and general tone of the whole picture, endeavour to produce the same _gradation_ of light and shadow as in nature, but on a lower scale.

The Bianchi party, on the other hand, endeavour to compensate for the want of positive brilliancy, by refining or increasing the delicacy and beauty of the tints.

Light is the origin, or immediate cause of _colour_, and the brighter the light, the greater variety of tints will be found or displayed. As we cannot rival the cause, the Bianchi contend that we must increase the effect by introducing _colour_ in lieu of those _tints_ which in nature appear neutral; and thus conceal the weakness of our imitation of the cause, by making it apparently produce greater effects. Thus all greys are rendered by pure Ultramarine blue tints, or delicate pearly purple, and the greatest possible variety of beautiful and delicate colours are introduced in the light; while the shadows are generally of a neutral colour, the most decidedly contrasting with the tints in the light. But sometimes the colour is also carried through the shadows as well as the lights; positive crimson being introduced into those of leaves or gra.s.s; while those of flesh are rendered by a dull red; and those of a sandy bank by pure blue. Plate.

The Neri complain that the Bianchi want tone, and the Bianchi that the Neri want purity and light.

Each of these factions contends, that all the difficulty of fine colouring is to be found only in their own aim; while they hold in perfect contempt the productions of their opponents, as being of such facile achievement as to the sarcasm of Michael Angelo,--to be "fit only for children," and beneath the attention of those who profess to study the Fine Arts.

[Ill.u.s.tration: THE NERI]

The main difference between the principles of these two parties or factions, will be found to lie in the treatment of the atmospheric influence and a.s.sociation, previously alluded to. The Bianchi availing themselves of the former circ.u.mstance, as a reason for introducing a great variety of pearly greys, on the purity and beauty of which they contend fine colouring is dependent; and the Neri availing themselves of the latter, as an excuse for the introduction of breadth of warm tones, and the omission of as much as possible of the cool tints, which are deemed so indispensable by their rivals; they limit the representation of atmospheric influence to the least possible degree.

t.i.tian's Venuses are ma.s.ses of the local colour of flesh, broken with so little half-tint, that they are scarcely round, and satisfy few but critics sufficiently learned in the Art, to be contented with the beauties of _Art_, as a subst.i.tute for the imitation of _Nature_.

This cla.s.s of colouring is founded upon the power of a.s.sociation, previously alluded to, by which, the local colour overpowers the greys of atmospheric influence; in other words, that to the eyes of the many, _flesh_ looks of a _flesh_ colour, and ought to be so represented. But the _full_ effect of a.s.sociation is here not allowed for. In looking at flesh, we know it to be flesh colour; and we know it to be round; and it requires some education of the eye to discover the atmospheric influence, as well as the minute gradations in form.

But on the other hand, in looking at a picture, we know it to be a flat surface; and however far the _imagination_ may be willing or have a tendency to supply the deficiencies in the representation, _a.s.sociation_ is an _antagonist_ and not an ally. This will become evident upon making outlines of objects and filling them up with flat tints; imagination will not have power to make them appear to be round, or to recede. The beauties of this cla.s.s of colouring are solely conventional.

t.i.tian, Giorgione, and Sir Joshua Reynolds lead the van of the Neri; Rubens, Vand.y.k.e, and Lawrence are at the head of the Bianchi; unless, indeed, we should consider Turner as general-in-chief of the latter.

Claude was probably of the Bianchi faction; but Time, who is the great ally of the Neri, has made him appear in some of his productions an adherent of that party.

It may be added, that most historical painters lean to the Neri faction, on account of the disadvantage arising from too close an approach to the common appearance of every-day nature, of which the effect is described in the proverb, that "familiarity breeds contempt," and consequently is destructive of that grandeur, solemnity, or refinement which is indispensable in high art; and they take refuge in the "cloistered tone" of Ludovico Caracci, so commended by Sir Joshua Reynolds, a conventional beauty which will presently be noticed. The Landscape painters, on the other hand, almost universally belong to the Bianchi party; as truth or _apparent_ truth is so much more indispensable in subjects that only display the scenery of nature, and which depend upon that resemblance for producing an impression, than in subjects which appeal to the pa.s.sions by the display of some stirring incident. From the nature of the materials employed, the tendency of oil painting is to the side of the Neri; whilst the general inclination induced by Water-colour drawing, is in favour of the Bianchi party. The _alleged_ principle of the colouring of the Neri is deduced from the hypothesis laid down by Sir Isaac Newton, that neither white nor black are _colours_, therefore say the Neri, "neither should appear in a finely coloured picture; the brightest lights should not be white; the deepest shadows should not be black;" nevertheless, those productions which are cited by this party as the finest specimens of colour in existence, _do_ contain both _white_ and _black_. In the celebrated picture by Giorgione, copied recently by Mr. Ward, R.A., to the eye of the uninitiated are presented both white lights, and black shadows. The former, it is true, are reduced by _Time_ or glazing; and the latter are excused as having lost their original colour.

But this principle can scarcely be said to be carried out, except in such pictures as possess the "cloistered tone" of Ludovico Caracci alluded to. Here the lights are warm and golden, as if transmitted through stained gla.s.s. The atmospheric greys are introduced to no greater extent than is indispensable to prevent the picture appearing rusty. The shadows are deep rich browns, into which are thrown still warmer reflections; and the whole picture is subdued to a soft-mysterious effect, which is admirably adapted to produce what is technically termed _repose_, and to excite gentle, reverential, solemn, and even affectionate feelings. It is a style of colouring peculiarly suited to religious subjects; and in representations of interiors, may be said to be like nature, because Nature _may_ be made to appear like it. (_See Plate._)

[Ill.u.s.tration: THE BIANCHI]

This principle of colouring may be carried out on a higher scale than is generally found among the productions of its advocates, and abstractedly, is undoubtedly calculated to lead to very beautiful results; though it may be questioned, whether it is sufficient to ent.i.tle the party exclusively to arrogate to themselves the designation of _colourists_, as they are in the habit of doing. For the principle of the Bianchi is likewise adapted to produce exceedingly beautiful colouring; and without some rational or scientific standard by which the comparative beauty of individual colours may be determined, so as to distinguish between fine colours and fine colouring, the admirers of this cla.s.s of colours may, with the greatest justice, contend that it is equally beautiful with that of the opposite party; while it has this superiority, that it will enable the Artist to produce much more resemblance in the representation of _external_ nature, and will be much less artificial in the effects produced as imitation of interiors.

And they derive a strong argument in favour of their mode of proceeding being correct, and most likely to stand, from the circ.u.mstance, that the pictures of Vand.y.k.e, many of which are _now_ claimed by the Neri as painted on their principle, when first done were frequently censured as being too _raw_ or _white_.

Further, it should be observed that, by too many of the Neri party, their great object of wors.h.i.+p, _Tone_, is limited to the rich warm brownish yellow which is legitimately superinduced in oil pictures by the action of Time, or glazing; and surrept.i.tiously obtained by was.h.i.+ng with tobacco-water. But an inspection of the works of the Dutch school, who belong to a third party which considers both the Bianchi and Neri to be in the wrong, as too artificial, will show that _tone_ may be cool as well as warm, and that there is a silvery _tone_ which has as devoted admirers as those of the Golden Image--(_see Plates of Ruysdael and of Ostade_).

[Ill.u.s.tration: THE DUTCH SCHOOL]

It may not be becoming in the author of the present work to decide between these great disputants; but from the statement respecting Vand.y.k.e's pictures, that they were considered _raw_ when fresh painted, as well as from the nature of the materials employed, it is evident, that the productions of t.i.tian, Giorgione, and other celebrated colourists, were not, when first painted, of such deep tones as they exhibit now; and it may be suspected that the reputation, which was derived from the _original_ colouring of their pictures, has, to a certain extent, been attached to the colouring they at present exhibit; and that veneration of talent, and respect for authority, have given sanction to what would be repudiated by the Great men whose names form the slogan of the party, and is not really ent.i.tled to commendation.

That the two principles may be combined, and so produce higher qualities than either affords alone, is hardly possible, when their opposite treatment of the effects of atmospheric influence and a.s.sociation are taken into consideration.

But this compromise may be made between them with advantage both to Amateurs and Artists; that the style of the Neri, including that of the Dutch school, may be considered as most applicable to the representation of interiors and quiet or grand subjects; while that of the Bianchi may be considered as most suited to exteriors, and subjects of gaiety and animation.

For the benefit of the Amateur, it will be necessary to say something more upon the style of colouring adopted by the Dutch school, the productions of which among the cognoscenti, are termed pictures of _Tone_; tone being in this instance used in opposition to positive colour, and as implying varieties of the ternary combinations, called neutral tints, or greys, but otherwise possessing the qualities of tone in a general sense, namely, transparency.

This style of colouring is peculiarly adapted to the cla.s.s of subjects on which the Masters of the Dutch school generally exercised their pencils, homely interiors; but when applied to out-of-door scenes, although undoubtedly possessed of certain conventional beauties, such as harmonious arrangement and balance of tones, it has a tendency to look dull and heavy. The landscapes of Ruysdael and Hobbima do not reckon among their beauties, that of vivacity or cheerfulness. They may be clear and bright and fresh, as their admirers say, but they do not represent Nature under her most bewitching aspect, nor is the style of the school adapted to do so. It leans to the side of the Neri, from its dread of brilliant colours. It is unaffected, sober, and in many instances, such as interiors or close woody scenes under grey daylight, possesses great truth; but from its limited application, and unpretending effect, is scarcely to be put into compet.i.tion, as a style of Fine Colouring, with the higher aims of the two great parties before mentioned. Plate.

Such is the present state of the theory of Fine Colouring; from which it is evident, that, except in a very limited cla.s.s of subjects, Truth _cannot_ be made the test--that even in this cla.s.s of subjects, it is disputed whether it _should_ be made the test; and that it is also disputed, to what extent a departure from truth is admissible; or rather, what quant.i.ty of resemblance to Nature is indispensable, and what method may be the best of compensating the want of accurate transcription; in short, what is the true _idiom_ of Fine Colouring in Art, so as fully to translate the beauties of Nature.

The fas.h.i.+on of the day rather leans to the Bianchi party in Water-colour drawings, if not in Oil paintings; but the principles of _none_ of the parties are _fully_ developed in the works of their existing followers. The followers of the Dutch school are sacrificing part of their truth for some, but it may be doubted whether the best, part of the conventional tones of both the other parties. The Bianchi are more regardless of truth than they need be, even to develope their principles to the utmost. And the Neri admit themselves to be wandering in a maze, without any fixed ideas of their own principles, and therefore are less frequently successful than the reverse; and they are equally obnoxious to the charge of departing farther from truth, than is necessary to give their own principles full play. Very recently a heresy of this faction adopted a peculiarity of tone, which is not to be found in the works of any of the great men of their party; and which is obnoxious to two serious objections. It is a greenish tone that unavoidably excites the idea of corruption and decay, which, having a tendency towards the disgusting, is not tolerable in the Fine Arts; and the second objection is, that, in their zeal for transparency, they had lost solidity to such an extent, that a portrait of George IV. by a celebrated artist, had the appearance of a vision, or of having been spun out of green gla.s.s bottles.

The beginner and the Amateur have already been warned against the dangers of green in pictures. And it may now be added, that transparency should reside in the _colours_ to conceal the appearance of pigments, but that the substances represented should appear as _solid_ as in nature.

CHAPTER III.

SECTION II.

COLOURS OF LIGHTS AND SHADOWS.

Whatever party of Colourists may find favour in the eyes of the reader, it will be necessary for him to be aware of certain effects observed in Nature, of which he will make such use as is admissible under the principle he may adopt.

Colours reside in the light parts of objects, if not brightest on the lightest parts, closely adjacent to them.

Shadows reduce, blacken, or render negative the colours of objects.

The edges, extremities, or boundaries of _all_ shadows are _grey_.

From the effect of contrast, shadows appear _comparatively_ of the opposite colour to that of the light. The Bianchi take advantage of this circ.u.mstance, and sometimes force or increase the colour of the shadow, to bring out that of the light without really tinging it so _deeply_ as is the case in Nature; whereby greater brilliancy is retained.

The colours of the lights and shadows depend upon that of the illuminating power, whether suns.h.i.+ne, moonlight, or grey daylight.

These will be separately pointed out.

[Ill.u.s.tration: SUNs.h.i.+NE]

CHAPTER III.

SECTION III.

SUNs.h.i.+NE.

The degree to which the colours of objects will be affected by that of the source of light, will very much depend upon the strength of the illuminating power.

The light of the noonday sun is so vivid that it diffuses its colour over all the illumined parts of the objects under its influence. These a.s.sume a rich golden hue, through which the local colours of the objects are slightly distinguishable, but rather as modifications of the warm tone diffused by the rays of the sun, than as integral varieties of tint.

As already has been noticed, the obvious effect of a yellowish light upon a blue object would be to induce a greenish tint; but in the case of suns.h.i.+ne, this is counteracted by the brilliancy of the light, and in representation, it is necessary for the same purpose, to infuse sufficient red into the light of blue objects under the influence of suns.h.i.+ne, or a disagreeable heavy effect will be produced.

Green, yellow, and orange objects become particularly brilliant in suns.h.i.+ne.

The shadows of the foreground are, in Nature, particularly negative or colourless; but as they recede, become gradually more blue. Sir Joshua Reynolds has made the shadows on the arm of his Sleeping Girl nearly black. He is one of the Neri. The Bianchi would have made them partake more of the colour opposite to that of light, purply brown, broken with red reflections. The shadows on green objects in the foreground would be rendered by dark crimson. Sir Thomas Lawrence frequently used pure lake in the shadows of his gra.s.s or shrubs. Plate.