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 - Toning / To Mitigate Partial or General Crudenss

All vivid warm colours, and spots of any such colour in a larger mass, when toned, and reduced by brown, are not only more harmonious and [p. 362] agreeable, but appear to have their actual hues deepened. The reason may be that such toning partakes of the nature of shade, and the colour is not so much altered as deepened--though slightly neutralized.

Cold colours that are too crude, are, when toned with brown, equally true and deep. In this case the colour would seem to be opposed by the toning--but the effect is quite as satisfactory, perhaps more so than in the case of warm crude colours that are toned.

All colours that are crude from whiteness, or lightness, are improved in like manner by a toning brown.

The silvery depths of white even are made more telling by a golden browning, near, and more or less upon them. [The sparkling quality is indispensable in white and in flesh, and, in general, in all light objects--the delicate half-tints are revealed and multiplied by such treatment, which, however, is not to be confounded with the imitation of shine. The sparkling quality depends on [relative] brightness, sharpness and crispness, and ultimate tone, for such a quality is more precious and is even increased really by the glazing, as the points of brightness are less obscured than some of the surrounding portions.]

The toning brown should be used everywhere to mitigate crudeness, even in partial tints [that may be too vivid] and spots--for where, on a very light [p. 363] scale, the toning is proportioned--not only in draperies, skies, landscape and inanimate objects, but even in flesh.

The general distribution of light and dark, and the modelling in all details should, however, be completed before, as very little modelling can be safely effected by toning--the attempt may end in rankness. [pp. 362-364]



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