Identifier: treatiseonpainti00burn (find matches)
Title: A treatise on painting : In four parts ... The whole illustrated by examples from the Italian, Venetian, Flemish, and Dutch schools
Year: 1837 (1830s)
Authors: Burnet, John, 1784-1868
Subjects: Painting
Publisher: London : James Carpenter
Contributing Library: Getty Research Institute
Digitizing Sponsor: Getty Research Institute

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en practised with the greatest success by many of the Dutchschool, producing a chain of connexion between the two extremes of hotand cold. This reflection of colour is more or less powerful according tothe brightness of the colour receiving the light in the first instance, andthe degree of shadow existing on that part of the adjoining object whichreceives such reflection. It also depends on the situation of the severalobjects : it will also be guided by the smoothness or roughness of theobjects, for reflected light is regulated by both of these circumstances.For example, the polished surface of grass or foliage, when the light fallsupon it, renders such part less green from its reflecting the colour ofthe sky; and, therefore, when that light is thrown off upon any adjoiningobject, it is less impinged with green colour. We must also bear inmind that one object receives the colour of the adjoining from two causes;for example, when a ray of light falls upon any object, it is refracted, r
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J,<md/m. PuMshed byJOupenter ScSon. Old DcmdStreet 1S27 ON COLOUR IN PAINTING. 13 impinged with the colour of such object, and which it communicates tothose adjoining; but, should the latter be of a polished nature, they willalso receive the colour from reflection. Plate II. Fig. 2. When a picture is composed of the two extremes ofhot and cold, we are certain of having employed the whole strength of thepalette; and, if judiciously used to assist the chiaroscuro, an harmoniousunion will be kept up between these opposite qualities, more forcible andsplendid than by the intervention of middle tint: which superiority willalways be perceived when such works are attempted to be imitated bymere black and white. When a warm light is surrounded by warm tones,it assumes a breadth and splendour from the appearance of its giving outrays ; when it is surrounded by cold ones, it derives a value from contrast.If the strongest colours are placed upon the darks, it will prevent themfrom being heavy

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