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    Colour as a Means of Art Being an Adaption of the Experience of Professors to the Practice of Amatures
    Colour as a Means of Art Being an Adaption of the Experience of Professors to the Practice of Amatures
    Colour as a Means of Art Being an Adaption of the Experience of Professors to the Practice of Amatures
    Ebook88 pages1 hour

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

    By Howard Frank

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    LanguageEnglish
    PublisherArchive Classics
    Release dateNov 15, 2013
    Colour as a Means of Art Being an Adaption of the Experience of Professors to the Practice of Amatures

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      Book preview

      Colour as a Means of Art Being an Adaption of the Experience of Professors to the Practice of Amatures - Howard Frank

      The Project Gutenberg EBook of Colour as a Means of Art, by Frank Howard

      This eBook is for the use of anyone anywhere at no cost and with

      almost no restrictions whatsoever.  You may copy it, give it away or

      re-use it under the terms of the Project Gutenberg License included

      with this eBook or online at www.gutenberg.org/license

      Title: Colour as a Means of Art

             Being an Adaption of the Experience of Professors to the

                    Practice of Amatures

      Author: Frank Howard

      Release Date: March 28, 2012 [EBook #39286]

      Language: English

      *** START OF THIS PROJECT GUTENBERG EBOOK COLOUR AS A MEANS OF ART ***

      Produced by Chris Curnow and the Online Distributed

      Proofreading Team at http://www.pgdp.net (This file was

      produced from images generously made available by The

      Internet Archive)

      COLOUR.

      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.
      LIST OF PLATES.

      PREFACE.

      In the Sketcher's Manual, the general principles of making pictures in black and white, or, as it is technically termed, in Chiaroscuro, have been briefly, but it is hoped distinctly, explained. The following work on Colouring proceeds upon the same method. It treats first of the arrangements of masses of colours which have been established by various masters or schools, and which have been recognized as satisfactory or agreeable by the public voice; it then points out the abstract principles to which these several arrangements may be referred; and finally directs attention to the qualities of Colouring in Art which are requisite as regards the imitation of Nature. It does not profess to descend to details, for these require a considerable advance in the Art, and consequently could not possibly be rendered intelligible in any publication, because they would require the exercise of first-rate powers, to colour every individual impression of the plates. For examples of the details of colouring, the Amateur and the Student must be referred to the best pictures of the several masters whose general principles are herein exhibited. But it should be observed, that although the several masters, whose names have been brought forward in the present work, and in the Sketcher's Manual, as the originators of the several principles of Chiaroscuro and Colour, are generally distinguished by some exercise of the principles to which their names are attached, they have produced many and valuable works in other and very different styles. It is not intended to imply that all the works of these masters are constructed upon the same principles; still less is it intended to imply that the principal merit of these masters resides in the particular principle of picture-making, which they have mainly, if not entirely, contributed to develope; for this would reduce the art of painting to a mechanical trade, or mere means of gratifying the eye. Least of all

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