Materials for a History of Oil Painting, Volume 2Longman, Brown, Green and Longmans, 1869 - Painting |
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altar-piece amber varnish Antonello Antonello da Messina Antonio Pollaiuolo appears applied artist Bartolommeo beauty blue drapery brown chiaroscuro colour colourists Correggio cracks darker darks depth early effect essential oil example executed exhibit expression Eyck figure finished Flemish flesh tints Florence Florentine forms Fra Bartolommeo Frate fresco Gallery Giovanni glazing gradations green grey half-tints hatching imitation Italian labour Leonardo da Vinci less light and shade light ground linseed oil Lorenzo di Credi Louvre Madonna master mode nature neutral nut oil object observed oil painters oil painting oil pictures oil varnish opaque outline Parma peculiar pentimenti Perugia Perugino Pietro Perugino Portinari portions practice preparation preserved produced prominent qualities Raphael remarkable resin rich Rubens sandarac scumbling seen shadows solid sometimes style substance sufficient supposed surface tempera thick thin thinly tion Titian toned transparent Vasari vehicle Venetian vernice liquida warm warmth white varnish yellow
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Page 220 - Wilkie observes of this picture : — * " The famous St. Jerome (or the Day) takes the lead; this, for force, richness, beauty, and expression, makes everything give way. Hundreds of copies have been made, but all poor compared with the fearless glazings, the impasted bituminous shadows of this picture.
Page 5 - Cimbrian coasts, and only subsequently to the Baltic and the country of the Esthonians, owes its first origin to the boldness and perseverance of Phoenician coast navigators. In its subsequent extension, it offers, in the point of view of which we are treating, a remarkable instance...
Page 14 - If my experiments have not misled me, I am entitled to draw the following conclusions from them : — Wherever a picture was found possessing evidently superior brilliancy of colour, independent of what is produced by the painter's skill in colouring, that brilliancy is derived from the admixture of some resinous substance in the vehicle. If it does not yield on the application of spirit of turpentine and spirit of wine, separately or together...
Page 13 - The solution in rape-seed oil, and in oil of almonds, was of a fine yellowish colour ; in linseed oil, gold coloured ; in oil of poppy-seeds, yellowish red; in oil of olive, of a beautiful red ; in oil of nuts, deeper coloured; and in oil of bays, of a purplish red. It is observable that this last oil, which of itself, in the greatest common heat of the atmosphere, proves a thick butyraceous consistence, continued fluid when the amber was dissolved in it. The solutions...
Page 231 - ... the shadows in the light parts of a faint purple hue; at least they were so at first. That purple hue seems to be occasioned by blackish shadows under, and the colour scumbled over them. " I copied the Titian in the Colonna collection with white, umber, minio, cinnabar, black ; the shadows thin of colour.
Page 230 - is dead-coloured white, and black or ultra-marine in the shadows; and over that is scumbled thinly and smooth a warmer tint — I believe caput mortuum. The lights are mellow, the shadows bluish, but mellow. The picture is painted on a panel in a broad, large manner, but finished like an enamel ; the shadows harmonize, and are lost in the ground.
Page 223 - ... a supernatural illusion, is eminently successful; it looks neither forced nor improbable. Whatever the Notte may have been, the hand of the picture-cleaner is here manifest ; and those who like bright day-light effect will have it here to their heart's content. Correggio did not, like Rembrandt, in these effects attempt to give the colour of lamplight ; the phosphorescent quality of light was more his aim, as in his 'Christ in the Garden.