Chapman, J.G. (John Gadsby), 1808-1889. / The American drawing-book: a manual for the amateur, and basis of study for the professional artist: especially adapted to the use of public and private schools, as well as home instruction.
(1870 [1873 printing])
Chapter VIII. Painting, pp. -252
PAINTING IN OIL-COLORS. palette is observable in the best colorists of the Italian schools. Fewer even might suffice; but, with these every requirement may be supplied for some time to come~ as it is better that familiarity with the more solid colors should be acquired, before meddling with others less easy of manage- merit. Many are the advantages to the learner of habituating himself to the employment of few colors. The strength of the palette does not consist in a variety of pigments. The fewer that are employed, the more easily are the suggestive accidents of their combinations remembered arid recoverable. As he advances, he may venture to increase their number; but the result of alniost all such experiments will be to bring him back more confidently to the simplicity of his beginning. 18. (1.) WHITE will be found occupying the most prominent position on the palette. It is generally placed at the head, because required in a larger quantity than the others, and, being heavy in itself, serves to keep an easier balance of the palette, besides being more accessible. Kreinlet's White, sometimes passing under the name of Silver White, is most generally used. It has not the body of Flake White, or pure White Lead, but is considerably brighter than either. Its general acceptation among artists, all the world over, is the best evidence in its favor. (2.) NAPLES YELLOW varies in its degree of intensity, as well as delicacy. The paler and more tender tint will be found best for flesh: arid such as falls into a more lemon, and sometimes even brassy hue, may be better suited for landscape and other purposes. Although we have introduced this color to the learner, he should be cautioned in regard to its peculiar qualities. The chemical properties of Naples Yellow require, in both grinding and mixing it on the palette, that an ivory or horn knife should be employed instead of a steel one. It may be equally danger- ous to combine it with other colors imperfectly prepared from iron; and, since the introduction of cadmium, it is so easily and comparatively cheaply imitated by mixtures, that it is rarely to be found of a pure quality. (3.) YELLOW OCHRE, when pure, combines in flesh-tints in a most delightful and manageable manner, and, from its permanent and reliable character, may be regarded as invaluable. A little trial and use of this color will soon make it a favorite, and few palettes are seen without it. There are many varieties of the yellow ochres, under the names of Roman, Spanish, Egyptian, Golden, etc., varying in their intensity and degree of warmth. All the pure ochres, by the process of calcination, become darker and more red. (4.) V-ENETIAN RED, or NAPLES RED (Terra Rossa), may both be considered standard pig- ments, and valuable for flesh-tints, as forming a carnation applicable under almost all circumstances. The former possesses more body, or intensity, the latter more delicacy. The great difficulty with regard to these colors is to procure them of uniform character and purity at the shops
Based on date of publication, this material is presumed to be in the public domain.| For information on re-use, see http://digital.library.wisc.edu/1711.dl/Copyright