To Keep In Mind--the Glow Of Sunshine And The Cool Of Shade

: ON THE NEUTRAL, BLACK.

It is a fault of even some of our best colourists, as evinced by their

pictures, to be too fond of black upon their palettes, and thence to

infuse it needlessly into their tints and colours. With such it is a

taste acquired from the study of old pictures; but in nature hardly any

object above ground is black, or in daylight is rendered neutral

thereby. Black, therefore, should be reserved for a local colour, or

employe
only in the under-painting properly called grounding and dead

colouring. As a local colour, black has the effect of connecting or

amassing surrounding objects, and is the most retiring of all colours, a

property which it communicates to other colours in mixture. It heightens

the effect of warm as well as light colours, by a double contrast when

opposed to them, and in like manner subdues that of cold and deep

colours. In mixture or glazing, however, these effects are reversed, by

reason of the predominance of cold colour in the constitution of black.

Having, therefore, the double office of colour and of shade, black is

perhaps the most important of all colours to the artist, both as to its

use and avoidance.



It may be laid down as a rule that the black must be conspicuous.

However small a point of black may be, it ought to catch the eye,

otherwise the work is too heavy in the shadow. All the ordinary shadows



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