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قراءة كتاب Colour as a Means of Art Being an Adaption of the Experience of Professors to the Practice of Amateurs

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Colour as a Means of Art
Being an Adaption of the Experience of Professors to the Practice of Amateurs

Colour as a Means of Art Being an Adaption of the Experience of Professors to the Practice of Amateurs

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دار النشر: Project Gutenberg
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COLOUR.

Entered at Stationers' Hall


SUNSET



COLOUR

AS A

MEANS OF ART:



BEING AN

ADAPTATION OF THE EXPERIENCE OF PROFESSORS

TO THE

PRACTICE OF AMATEURS.



BY FRANK HOWARD,
AUTHOR OF "THE SKETCHER'S MANUAL," "THE SPIRIT OF SHAKSPEARE," &c.


LONDON:
HENRY G. BOHN, YORK STREET, COVENT GARDEN.
MDCCCXLIX.


Dedication

TO

SIR AUGUSTUS WALL CALLCOTT, R.A.

&c. &c. &c.


Dear Sir,

The endeavour of the present work is to fix and develope, for the benefit of the Amateur and the Student, some of the acknowledged general principles of Colouring as a means of Art, without reference to the purposes to which such Art shall be applied,—without reference to poetical expression or character, or to the imitation of the details of Nature, which are requisite for the production of great works.

And I have much pleasure in being permitted to dedicate it to you, who have so recently shown that the capability to execute in the higher walks of Art does not depend, as is erroneously supposed, upon mechanical skill attained by constant practice and devotion to one class of subjects; but upon intellectual qualifications and mental refinement, which has ever been conspicuous in your treatment of the subjects generally adorned by your pencil.

I have the honour to remain,

Your obedient Servant,

Frank Howard.


CONTENTS.

  PAGE
PREFACE V
INTRODUCTION 17
CHAPTER I.
COLOURING AS A MEANS OF ART 25
  Section 1.—HARMONY 27
  Section 2.—TONE 31
CHAPTER II.
RULES FOR PRODUCING PICTURES IN COLOUR 35
  Section 1.—CUYP'S PRINCIPLE 39
  Section 2.—BOTH'S PRINCIPLE 41
  Section 3.—HOBBIMA AND RUYSDAEL'S PRINCIPLES 43
  Section 4.—TENIERS AND OSTADE'S PRINCIPLES 45
  Section 5.—THE PRINCIPLES OF TITIAN AND THE VENETIAN SCHOOL 47
  Section 6.—LUDOVICO CARACCI'S PRINCIPLE 49
  Section 7.—ANOTHER PRINCIPLE OF TITIAN 51
  Section 8.—RUBEN'S PRINCIPLE 53
  Section 9.—TURNER'S PRINCIPLE 55
Section 10.—ANOTHER PRINCIPLE OF TURNER 57
Section 11.—MODERN MANNER 59
Section 12.—ABSTRACT PRINCIPLES TO WHICH THESE ARRANGEMENTS MAY BE REFERRED 61
CHAPTER III.
FINE COLOURING 69
  Section 1.—PRINCIPLES OF COLOURING OBJECTS 71
  Section 2.—COLOURS OF LIGHTS AND SHADOWS 99
  Section 3.—SUNSHINE 101
  Section 4.—SUNSET 103

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