The Art of the Use of Color in Imitation in Painting. No.

Author(s): William Page
Source: The Crayon, Vol. 1, No. 4 (Jan. 24, 1855), p. 55
Published by:
Stable URL: .
Accessed: 03/05/2013 18:22
Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at .

JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of
content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms
of scholarship. For more information about JSTOR, please contact


This content downloaded from on Fri, 3 May 2013 18:22:22 PM
All use subject to JSTOR Terms and Conditions

to mislead the or. that if part of it." at the skill He had been astonished ken him. produced a bad but imitation of Trajan's nothing Pillar! This kind of monument first came into use a people who. erect when resolved. which have all the breadth of the finest and a antique heads. and still more so to modern nations. colors?blue. any of displacing attained his already excellences. or reproduced. must and that he who uses these most and with the ingeniously. appears cessarily the features and. the Almighty leading. to most of the plies in an especial manner works of the lately deceased architect. ne com little and puppet-like. and never a cry of a a miracle! miracle. though as sides this. and so interwoven and combined them. that in sculpture the means used are to the end to fully adequate be with a perfectly pliant sub produced?being. may well teach us how limited is our power to cope the Infinite. viz.89. Goethe has well said in his llTheory of Colors. cr third degree in Nature to the medium in the scale which we have indicated above ? If so. in the Arts. equally removed from each other. ture we have an illustration. that all other known quali might to our eyes here." imitation ciple of the "immediate to the best of his abilities each expressing that of which he had the clearest perception. nature. mix these extremes. best efforts to shame. that many arbitrary. we believe. though this simple division will answer our purpose for illustration an almost in in writing. to that infinite variety of Nature compete with which has been the love and admiration of all mankind from the beginning. In the first place. or otherwise the form of the thing to be imitated. yellow and blue. calculated In the imitation of the minutiae understanding. produced by any known we must it. The very the column proves idea of isolating that the as the supporting member original destination. Nash. that the English. how pillars. and has. he has a peculiar knack of depriving masses of considerable of all effect. to imitate form of any natural object. {To be Continued. has tried to represent Al them. particularly there are but three primitive colors used by the Creator to adorn and beautify this all-beau tiful world of his creation. It will then seem that economy with these slender means evident. and has nothing in the architecture. NO. to convey impressions as of na tural objects. or reproduce the stance. originally in rows in supporting members. minuteness of finish in all the details. while are the of the countenance. a series of letters by William Page. of the minute by the addition of Gerard Douw. be of the last importance.?but true curve accurately nimbleness of fin to see more than this mere gers. and that outer dark ness where no light is?for often as we have used our utmost skill to make the surface of our can vas. acquainted with of the noblest and chastest taste. as the well-known to speak) of expression. they are destitute simple main are indispensable in grand archi fines. with imitator of nature than Ptaphael. to bring these indefinite extremes of Nature within our own range of mental let us suppose vision. as it cannot be resolv ed back again to the other two or be primitives. The busts of our countryman. It may here be well to a clearer understand ing of the subject. representa so divided tives of light and darkness into a like number of degrees. external of the merely of inanimate portions objects. in the case of the blue sky. where the form is not. and variations with light and dark. a mere workman would strike a with which he wanted and well. Yet. This is false. Crayon. made by the real object declares Sir Joshua that Gerard Reynolds his high finishing. dark. more to to refer this occasion particularly. from time to time. of the edifice. wet clay." that here nature seems to have exhausted all her resources. prove interesting to the public. like gion. Se condly. that Raphael would not have been exalted to a higher pitch of excellence. was a closer Douw. bo as not to darkness. There are. as darkness of earth. would be to my a palpable mind These he saw in absurdity. too. our as let us fix this in minds the centre whence all analysis "We shall hereafter have begins. necessary other innumerable qualities demanded in a pic ture. body for a like form of body in another sub stance : which will at once show the wide dif ference between these two imitative Arts.231 on Fri. proof of the beauty the Somebody had said that he had understated in amount of time required to obtain perfection as it was called. or the plane on which we produce our pic as as dark tures. they having a keener relish for these qualities. and color. as in reli following humbly.THE attainable by a little study. that infinite stretch in nature between her intensest ray of light.. without or to the destination to their original meaning. the new palace as if some wicked magician ?looks had sud some capricious denly transformed stage scene ry into solid reality. placed the buildings of the ancients. or the clear-obscure of Correggio. Waagen. which tectural effects.?Du Waagen This content downloaded from 200. that we scarce know which he predominate (I quote from memory)?and have added. Column Monuments. them divided into five degrees. our brilliant white and so when has been ex hausted in imitating light. directly before a wall. which appeared in the Broadway Journal some years since. as wholly ser berless instances. makes us most what we would most wish to be. as did in color and Titian and Correggio chiaro-scuro. bearing one side are here ranged in num of a space beyond. who first made the rest of Europe the immortal. though inmany respects we believe Page himself would now differ from them. : beauty of form and wished exalted harmonious expressions. and the originality of the views they contain. we should very to this resemblance readily produce a complete color of the sky. to be the means I understand Imitation are imi the effects of Nature in Art whereby tated. which expression of intellectual cha indications most important are wholly racter in the person commemorated. if you will. but only the appearance of the . so as to allow that dark to appear through. from the standing of the author. Hiram Powers. lost sight of. yet. these which all tints. but. he is so in of his buildings?for. as in the reality. as the product of of space light over dark (that is. and has most power in reserve. pigments will make it. as semi-barbarian. if these could have been superadded to his own. and the human face may well be considered as the highest focus (so test. these. it will cast a shadow in noon-day darker than itself. Douw's and causes color to pale at the comparison. those used by nature in the production nearer will be the impression of her effects. and add to its force and truth. shall yet make the world wonder that such things should have been done in our midst. the greatest absurdity excess in the use of columns. This is carried to. the statue placed colossal as the size of the base will allow. 3 May 2013 18:22:22 PM All use subject to JSTOR Terms and Conditions . will. so that he produces the desired effect. than for expression Then. will not this give each extreme us the nearest approach that we can get in Art. a little diamond would blaze upon its surface. together hues. in like manner. Now.) ? London Architecture. of them have ever. or ties. red. viz. appear. Now. Titian's and the light and dark of Correggio to look heavy and dull. in contra to the local color of the distinction or violet. while. unprofitable This censure ap vants.?The outside of the common brick houses of London is very plain. and though of the world the judgment has left but little is to be preferred. least outlay of them. On the other hand. and transferred to his works .. which. two reasons why most rather a disagreeable effect. We shall republish. are all the feeble our own short means we have. always with the Greeks. with that and the and. will be the truest artist. or form. a was it few years ago. In truth. and more. pilasters. so imperfectly represented in painting by white and black. is ac that puts there. the first being light. They had mista "writing. exactness the color of Titian. the darkness seen by us through the light of the beyond. well knows. agreeable unless it be the neat and well-defined joints of the brick-work. on this account. was wholly on it. I. the Greeks. the blueness). other blue where the color cannot be any thing but is always a separated from the substance. them into a number of little pro by breaking in the use of jecting and receding parts . Now we had the pigments of representing capable perfect fight and perfect dark. or the pigments represent over it a layer of ing them. Be of a building. in Art. and which. more color. lie side by side with a diviner exalta ever Raphael tion of expression than could In sculp dream. by making a ground of perfect and when this was dry. present themselves rather evade our search and strive to hide them as any painter who selves from our observation. having so used all the primitive colors. in ar models chitecture and sculpture of ancient Greece. to observe. unknown to that gifted people. a monument to the Duke of York. with sight. without higher possessions. without either disturbing breadth of form or expression. the artist must make subdivision in his practice. THE ART OF THE USE OF COLOEIN IMITATIONIN PAINTING.?Dr. dimension. needs only eyes to see. lost to the spectator. passing perfect light. who will pretend to say. to But clearly say that did not also finji in nature what he Raphael to represent. been rejected by some as a primitive color . it is still less doubt which doubtful that they equally proceeded on the prin of nature. the result to that made on the eye by such artistic in nature itself.?to are to be traced. he no doubt was. many of the great palace-like are furnished buildings with architectural of all kinds? decorations with &c. the decorative fixtures "are introduced in a manner any regard entirely arbitrary. the minuteness complished. and in mat the gift of invention in comparison ters of taste. and black are the extreme If white limits of our scope with which we must if at represent. of human flesh has always been The painting considered the best test of the powers of a color ist. pared with the column .68. at all. of Buckingham House stance. three. giving only one CEAYON.?What shall we say to the fact. and to which even the richest decoration be strictly must subordinate. to say nothing to give those light. one of these above-named though primitive has been found to exist in nature. for this is what he saw most before him. combination of these. when we consider that in painting the flat substance must appear rotund. finite Then sup the painters pose. to say the least. producing. produce the com bined effect of a pierced wall. to. And that such a thing might be. This being so. it will be clearly seen. and the last perfect darkness. of continuous. I should wish to call this occupy color of the sky an accidental color. gous to. that the medium or third degree in the scale is equally removed from in either case. humility afar off. in respect to among the Romans. BY WILLIAM PAGE. Iatmosphere 55 seen through light always does. and the more nearly the means or are analo used correspond with.?Eds. And this brings us to the means used in the latter Art. that in Nature herself all this. the most diverse forms and ornaments.