Notebook, 1993-

Eastlake's Methods and Materials of Painting of the Great Schools and Masters

Eastlake, Sir Charles Lock [One-time President of the Royal Academy], Methods and Materials of Painting of the Great Schools and Masters [Formerly titled: Materials for a History of Oil Painting]. Vol. One. New York; Dover Publications, Inc. 1960 [Originally published by Longman, Brown, Green and Longmans in 1847]

Professional Essays - Cool Lights on Red

The shine [suppose of ordinary daylight] on red morocco, appears to be the colour of the light only, without any admixture of that of the object--the cool, whitish, silver lights from an exquisite contrast to the toned, red lake depths, and would be agreeable in separate objects placed next each other [the same perhaps is true of all shines as contrasted with the local colour on which they appear]. The whitish light which, on polished surfaces, is merely the image of the light, had better be produced [not merely by white, but] by the depth of white, [found ut scis ] on a very light scale--that is, heightened with white. It will thus always partake more or less of a purplish hue on yellow, brown, and black objects; of a purely neutral, silvery tint on bright red objects, and of a relatively warm mellow colour on blue, and green, and purple objects.

The tendency of the shine to a purplish hue is very apparent on warm objects, [for instance, on old polished or vanished oak] not in the highest lights, but where the shine is scarcely perceptible--at the edge or subsidence of such lights--as where they die away on polished mouldings; in such cases the more delicate the light, the purpler it becomes--as if the object were very thinly scumbled with semi-opaque light. [p. 354]



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