Practical hints on light and shade in painting, Issue 1881880 |
Common terms and phrases
appearance apt to look artist background blue breadth of effect breadth of light breadth of shadow brought in contact canvass centre chiaroscuro cold colours composition cool tints Coreggio Corregio crosier Cuyp dark ground dark side darker draperies examination example extreme dark extreme light figures find the light finish flat flesh FRESNOY give gradating greatest half dark half light half tint harsh JOHN BURNET light and half light and shade light ground light key light pictures light side linen LONDON WALL luminous character management of light mass of light middle tint mode noticed objects outline painters Paul Veronese placed Plate portion possess in nature preserved principal light produce purpose relieved Rembrandt repeat the light Rubens SHADE IN PAINTING sharp and cutting softness spectator splendour strong colour strong dark strong light strongly defined student thereby Tintoret Titian tone union Vandyke Veronese warm colour whole yellow
Popular passages
Page 18 - To illustrate this, we may have recourse to Titian's bunch of grapes, which we will suppose placed so as to receive a broad light and shadow. Here, though each individual grape on the light side has its light, and shadow, and...
Page 35 - But that is not to explain, of course, how lines are written which — in their place — will have the magic of Light thickens, And the crow makes wing to the rooky wood. or the power — though it seems, and is, a line a child might write — of It will have blood: they say blood will have blood. Or that can give the effect — -really one cannot remove this from its place — of Macduff's He has no children.