Part 13 (1/2)

CXLIX

Painters who are not colourists , properly speaking--unless one wants to produce a monochrome--implies the idea of colour as one of its fundaether with chiaroscuro, proportion, and perspective

Proportion applies to sculpture as to painting Perspective detereround; colour gives the appearance of life, &c

The sculptor does not begin his ith an outline; he builds up with his h at first, establishes fro the essential conditions of relief and solidity

Colourists, being those who unite all the qualities of painting,to work, secure the conditions peculiar and essential to their art

They have to mass with colour, as the sculptor with clay, marble, or stone; their sketch, like the sculptor's, must show proportion, perspective, effect, and colour

Outline is as ideal and conventional in painting as in sculpture; it should result naturally froement of the essential parts The combined preparation of effect which implies perspective and colour will approach ree of the painter's skill; but this foundation will contain potentially everything included in the final result

_Delacroix_

CL

I believe colour to be a quite indispensable quality in the _highest_ art, and that no picture ever belonged to the highest order without it; whileit--as the works of titian--are raised certainly into the highest _class_, though not to the very highest grade of that class, in spite of the lireat qualities Perhaps the _only_ exception which I should be inclined to adarth, to which I should never dare to assign any but the very highest place, though their colour is certainly not a proarth's colour is seldo to myself, and that for h not ai at colour On the other hand, there are men who, hly enjoying their works, though full of other qualities For instance, Wilkie or Delaroche (in nearly all his works, though the Hemicycle is fine in colour) Froraving--though of course he is in no respect even within hail of Hogarth Colour is the physiognomy of a picture; and, like the shape of the hu goodness and greatness Other qualities are in its life exercised; but this is the body of its life, by which we know and love it at first sight

_Rossetti_

CLI

In regard to the differentthe flesh, I belief it is of little consequence which is pursued, if you only keep the colours distinct; toomakes them muddy and destroys their brilliancy, you know Sir Joshua was of opinion that the grey tints in the flesh of titian's pictures were obtained by scu in a cool grey reys for the hts ar the shadoarmer and deeper colours too But for ood way to consider the flesh as composed of different coloured network laid over each other, as is really the case in nature, and may be seen by those ill take the pains to look carefully into it

_Northcote_

CLII

The utreat principle of varying by all the , and on the proper and artful union of that variety

I a nature's artful and intricate ated co, in the art of painting, a kind of es; insomuch, that it may fairly be said, out of the many thousands who have labour'd to attain it, not above ten or twelve painters have happily succeeded therein; Correggio (who lived in a country village, and had nothing but the life to study after) is said almost to have stood alone for this particular excellence Guido, who made beauty his chief aim, was always at a loss about it Poussin scarce ever obtained a glimpse of it, as is manifest by his many different atteood colourist

Rubens boldly, and in a ht, separate, and distinct, but sometimes too much so for easel or cabinet pictures; however, his reat works, to be seen at a considerable distance, such as his celebrated ceiling at Whitehall Chapel: which upon a nearer vieill illustrate what I have advanc'd with regard to the separate brightness of the tints; and shehat indeed is known to every painter, that had the colours there seen so bright and separate been all sether, they would have produced a dirty grey instead of flesh-colour The difficulty then lies in bringing _blue_, the third original colour, into flesh, on account of the vast variety introduced thereby; and this on-painter that lays his colours s, a Rubens, a titian, or a Correggio

_Hogarth_

CLIII

COPY ON CANVAS IN OIL OF THE DORIA CORREGGIO IN THE PALAZZO PASQUA

It seems painted in (their) juicy, fat colour, the parts completed one after another upon the bare pannel, the same as frescoes upon the flattened wall Si or ht and shadow, is produced by one mixed up tint so melted that noor sculaze, which, siives to it with fearless hand the richness and glow of Correggio All imitations of this master are complicated compared to this, and how complicated and abstruse does it ive siure in outline upon the prepared board, with even the finger-marks in colour of the painter hiures painted up at once, and, strange to say, with solid and even sunny colours Here are the heads of a woman and of a naked child, coio, in texture fine, and in expression rich and luxurious, and as fine an example of his powers as any part to be found in his most celebrated work