All pigment is more or less absorbent of color rays, and more or less reflective of them; certain color rays being absorbed by a pigment, and certain other rays being reflected by it. The pigment is named according to those rays which it reflects. As a color-producing substance, then, the pigment is practically a mirror reflecting color rays. But a true mirror would reflect all rays unmodified. If we could paint with mirrors, each of which would reflect its own color _unsullied_, we could do what the scientist does with light; but the painter deals with an imperfect mirror which gives no color rays back unsullied by rays of another cla.s.s, and so our results cannot be the same as the scientist"s. So that just in accordance with the degree of purity of transmitting power of a pigment will be the purity of the color which we get by its use. But absolute purity of pigment we cannot get, so we cannot deal with it as we do with light, and we deal with a practical fact rather than a scientific fact, as painters.
=Primaries and Secondaries.=--As all the other shades of color are produced by the combinations (over-lappings) of the waves or vibrations in the light rays from the primary colors, we have a series of colors called secondaries, because they are made up of the rays of any two of the three primaries: as purple, which is a combination of blue and red. When dealing with _light_ the secondaries are: shades of violet and purple from red and blue; shades of orange red, orange, orange yellow, yellow, and yellowish green from red and green; and bluish green and greenish blue from blue and green--the character of the color being decided by the proportions of the primaries in the mixture.
These conclusions have been reached mainly through experiments in white light. The primaries so obtained do not hold good with pigment, as I have stated, but the principles do. It will avoid confusion if I speak hereafter of the combinations as they occur with pigment, it being borne in mind that it is a practical fact that we are dealing with rather than a scientific one.
In dealing with _pigment_ the primaries are red, blue, and _yellow_, not _green_. Of course the secondaries are also changed; and we have purple and violet shades from red and blue, orange from red and _yellow_, and green from blue and yellow--all of which vary in shade with the proportion of the mixture of the primaries, as is the case with light.
=Tertiaries.=--Another cla.s.s of shades or colors is called _tertiary_, or third; for they are mixtures of all the three primaries, or of a primary with a secondary which does not result from mixture with that primary. Tertiaries are all _grays_, and grays are practically always tertiaries. If you keep this in mind as a technical fact, it will help you in management of color. Grays are, to the painter, always combinations of color which include the three primaries. The usual idea is that gray is more or less of a negation of color. This is not so. Gray is the balancing of all color, so that any true harmony of color, however rich it may be, is always quiet in effect as a whole; that is, grayish--good color is never garish. It is very important that the painter should understand this characteristic of color. You cannot be too familiar with the management of grays. If you try to make your grays with negative colors, you will not produce harmonious color, but negative color, and negative color is only a shirking of the true problem. Grays made of mixtures of pure colors, balancings of primaries and secondaries, that is, modifications of the tertiaries, are quite as quiet in effect and quite as beautiful as any, but they are also more luminous; they are _live_ color instead of _dead_ color.
Grays made by mixing black with everything are the reverse, and should not be used except when you use black as a color (which it is in _pigment_), giving a certain color quality to the gray that results from it.
=Complementary Colors.=--Two colors are said to be complementary to each other when they together contain the three primaries in equal strength. Green, for instance, is the complementary of red, for it contains yellow and blue; orange (yellow and red) is complementary to blue; and purple (red and blue) is complementary to yellow.
The knowledge of complements of colors is very important to the painter, for all the effects of color contrast and color harmony are due to this. Complementary colors, in ma.s.s, side by side, contrast.
The greatest possible contrast is that of the complementaries.
Complementary colors mixed, or so placed that small portions of them are side by side, as in hatching or stippling, give the tertiaries or grays by the mixing of the rays.
=The Law of Color Contrast.=--"When two dissimilar colors are placed in contiguity, they are always modified in such a manner as to increase their dissimilarity."
=Warm and Cold Colors.=--Red and yellow are called warm colors, and blue is called a cold color. This is not that the color is really cold or warm, of course, but that they convey the impression of warmth and coldness. It is mainly due to a.s.sociation probably, for those things which are warm contain a large proportion of yellow or red, and those which are cold contain more blue. There is a predominance of cold color in winter and of the warm colors in summer.
From the primaries various degrees of warmth and coldness characterize the secondaries and tertiaries, as they contain more or less proportionately of the warm or cold primaries.
In contrasting colors these qualities have great effect.
=Color Juxtaposition.=--In studying the facts of color contrast and color juxtaposition you will find that two pigments, if mixed in the ordinary way, will have one effect; and the same pigments in the same proportions, mixed not by stirring them into one ma.s.s, but by laying separate spots or lines of the pigment side by side, produce quite another. The gain in brilliancy by the latter mode of mixing is great, because you have mixed the _color rays_, which are really light rays, instead of mixing the _pigment_ as in the usual way. You have really mixed the color by mixing _light_ as far as it is possible to do it with pigment. You have taken advantage of all the light reflecting power of the pigment on which the color effect depends. Each pigment, being nearly pure, reflects the rays of color peculiar to it, unaffected by the neutralizing effect of another color mixed with it; while the neutralizing power of the other color being side by side with it, the waves or vibrations of the color rays blend by overlapping as they come side by side to the eye; and so the color, made up of the two waves as they blend, is so much more vibrant and full of life.
="Yellow and Purple."=--It is this principle which is the cause of the peculiarity in the technique of certain "Impressionist" painters. The "yellow lights and purple shadows" is only placing by the side of a color that color which will be most effective in forcing its note.
Brilliancy is what these men are after, and they get it by the study of the law of color contrast and color juxtaposition. The effect of complementaries in color contrast is what you must study for this, for the theory of it. For the practice of it, study carefully and faithfully the actual colors in nature, and try to see what are the real notes, what the really component colors, of any color contrast or light contrast which you see. Purple shadows and yellow light re-enforcing each other you will find to exist constantly in nature.
Refine your color perception, and you will be able to get the result without the obviousness of the means which has brought down the condemnation on it. Closer study of the relations is the way to find the art of concealing art.
But yellow and purple are not the only complementaries. All through the range of color, the secondaries and tertiaries as well as the primaries, this principle of complement plays a part. There is no color effect you can use in painting which does not have to do, more or less, with the placing of the complementary color in ma.s.s, to emphasize; or mixed through to neutralize, the force of it. Train your eyes to see what the color is which makes the effect. a.n.a.lyze it, see the parts in the thing, so that you may get the thing in the same way, if you would get it of the same force as in nature.
=Practical Color.=--All these theoretical ideas as to color have their relation to the actual handling of pigment, which is the craft of the painter. The facts of contrasting and harmonizing color relation have a practical bearing on the painter"s work, both in what he is to express and how he is to do it; as to his conception of a picture and his representation of facts. In his conception he must deal with the possibilities of effect of color on color. The power of one color to strengthen the personal hue of another, or its power to modify that hue, is a fact bearing on whether the color in the picture is the true image of the color he has seen in his mind. In the same degree must this possibility affect his representation of actual objects.
The greatest possibilities of luminosity in sunlight or atmospheric effects come from the power to produce vibration by cool contrasted with warm color. You will find that a red is not so rich in any position as when you place its complementary near it. At times you will find it impossible to get the snap and sparkle to a scarlet--cannot make it carry, cannot make it felt in your picture as you want it without placing a touch of purple, perhaps, just beside it; to place near by a darker note will not have the same effect. It is the contrast of color vibration, not the contrast of light and shade, which gives the life. And at the same time that you enhance the brilliancy of the several notes of color in the picture, you harmonize the whole. For the mosaic of color spots all over the canvas brings about the balance of color in the composition, and harmony is the result.
=Study Relations.=--You must constantly study the actual relations of color in nature. You will find, if you look for it, that always, just where in art you would need a touch of the complementary for strength or for harmony, nature has put it there. She does it so subtly that only a close observer would suspect it. But the thing is there, and it is your business to be the close observer who sees it, both for your training as a colorist, and your use as an interpreter of nature"s beauties. It is your business to see subtly, for nature uses colors subtly. The note sparkles in nature, but you do not notice the complementary color near it. Can you not also place the complementary color so that it is not seen, but its influence on the important color is felt? It is by searching out these _finesses_ of nature that you train your eye. You must actually see these colors. At first you may only know that they must be there because the effect is there. But your eye is capable of actually recognizing them themselves, and you are no painter till it can. The theoretical knowledge is and should be a help to you, but the actual power of sight is most important. A painter may use theoretical knowledge to help his self-training, but power of eye he must have as the result of that training. The instantaneous recognition of facts and relations, the immediate and perfect union of eye and thought, are what make that intuitive perception which is the true feeling of the artist.
Work this out with eye and palette. Study the color and its relation in nature, and study its a.n.a.logy in the pigment touches on the canvas.
=The Palette.=--You try to attain nature"s effects of light with pigment. Pigment is less pure than light. You cannot have the same scale, the same range, but you must do the best you can, and the arrangement of your palette will help you. As you have not a perfect blue, a perfect red, and a perfect yellow, you must have two colors for one. Your paints will always be more or less impurely primary. No one red will make a pure purple with blue, and an equally pure orange with yellow. Yet pure purple and pure orange you must be able to make.
Have, then, both a yellowish or orange red and a bluish or purplish red on your palette. Do the same with blue and yellow. In this way you can not only get approximately pure secondaries when you need them, but the primaries themselves lean somewhat towards the secondaries, so that you can make very delicate combinations with pure colors. A bluish yellow and a yellowish blue, for instance, will make a rather positive green. By using a reddish yellow and a bluish or purplish red, you practically bring in the red note, and make a grayer green while still using only two pigments.
So, too, you get similar control of effects by the use of opaque or transparent pigments, the transparent ones tending to richness, the opaque to dulness of color. Various processes in the manner of laying on paint bring about these different qualities, and will be spoken of in the chapter on "Processes."
Cla.s.sify your pigments in your mind in accordance with these characteristics. Think of the ochres, for instance, as mainly opaque, and as yellows tending to the reddish. With any blue they make gray greens because of the latter quality, and they make gray oranges with red because of the dulness of their opacity and body. For richer greens think of the lighter chromes and cadmium yellows or citrons; and for the richer oranges, the deeper cadmiums and chromes. With reds, work the same way, scarlet or orange vermilions for one side of the scale, and the Chinese or bluish vermilion on the other side. The deeper and heavier reds fall in line the same way. Indian red is bluish, light red and Venetian red are yellowish.
PART IV
PRACTICAL APPLICATION
CHAPTER XXII
REPRESENTATION
Although much has been said about the theoretical and abstract side of painting, and the importance of the aesthetic elements in art have been insisted upon, it is not to be supposed for a moment that painting does not deal with actual things. All painting which is not purely conventional must deal with and represent nature and natural facts.
These are the body of the picture; the aesthetic elements are the heart of it. I believe that it is important that you should know that there is that side to painting, and should have some insight into it; that you should see that there is something else to think of than the imitation of natural objects. I would have you think more n.o.bly of painting than to believe that "the greatest imitation is the greatest art." Beneath the imitation of the obvious facts of nature are the deeper facts and truths, and in and through these may you express those qualities of intellectual creation by means of which only, painting is not a craft, but an art.
But for all that, painting does, and always must, deal with those obvious facts; and however much you may give your mind to the problems of composition and color, you must base it on a foundation of ability to represent what you see. Represent well the external objects, and you are in a position to interpret the spirit of them. For as nature only manifests her inner spirit through her outward forms and facts, you must be able to paint these well before you can do anything else.
The intellectual action which perceives and constructs is the art, the skill which represents and reproduces is the science, of painting.
Painting is the art of expression in color. The fact of color rather than form is the fundamental characteristic of it. The use of pigment rather than other materials is implied in its name. Therefore the science of painting deals with the materials with which to produce on canvas all manner of visible color combinations; and those processes of manipulation which make possible the representation of all the facts of color and light, of substance and texture, through which nature manifests herself.
It is not enough to have the pigment, nor even that it should get itself onto the canvas. Different characteristics call for different management of paint. Luminosity of light and sombreness of shadow will not be expressed by the same color, put on in the same way. Different forms and surfaces and objects demand different treatment. The science of painting must deal with all these.
It has been said that there are as many ways of painting as there are painters. Certainly there are as many ways as there are men of any originality. For however a painter has been trained, whatever the methods which he has been taught to use, he will always change them, more or less, in adapting them to his own purposes. And as the main intent of the art of an epoch or period differs from that of a previous one, so the manner of laying on paint will change to meet the needs of that difference. The manner of painting to-day is very different from that of other times. Some of the old processes are looked upon by the modern man as quite beneath his recognition. Yet these same methods are necessary to certain qualities, and if the modern man does not use or approve of those methods, it is because he is not especially interested in the qualities which they are necessary to.
There is probably no one statement which all fair-minded painters will more willingly acquiesce in, than one which affirms that the method by which the result is attained is unimportant, provided that the result _is_ attained, and that it is one worth attaining. Every man will, whether it is right or not, use those methods which most surely and completely bring about the expression of the thing he wishes to express. In the face of this fact, and of the many acknowledged masterpieces, every one of which was painted in defiance of some rule some time or other alleged to be the only right one, it is not possible to prescribe or proscribe anything in the direction of the manipulation of colors. The result _must_ be right, and if it is, it justifies the means. If it be not right, the thing is worthless, no matter how perfectly according to rule the process may be. As Hunt said, "What do I care about the grammar if you"ve got something to say?" The important thing is to say something, and if you do really say something, and do really completely and precisely express it, as far as a painter is concerned it will be grammatical. If not to-day, the grammar will come round to it to-morrow. Henry Ward Beecher is reported to have answered to a criticism on grammatical slips in the heat of eloquence, "Young man, if the English language gets in the way of the expression of my thought, so much the worse for the English language!" In painting, at any rate, the _complete_ expression of thought _is_ grammatical, and if not, so much the worse for the grammarians.
=Try Everything.=--Know, then, all you can about all the ways of manipulating paint that have ever been used. Use any or all of those ways as you find them needful or helpful. There is none which has not the authority of a master behind it, and though another master may decry it, it is because, being a master, he claims the very right he denies to you.
Experiment with all; but never use any method for the sake of the method, but only for what it is capable of doing for you in helping expression.
=Safety.=--The only real rule as to what to use and what not, applies to the effect on the permanence of your canvas. Never use pigments which will fade; nor in such a way that they will cause others to fade. Avoid all such using of materials as you know will make your picture crack, or in any other way bring about its deterioration.
=Good Painting.=--But for all I have just said, there is an acknowledged basis of what is good painting. If any man or school lays on paint in a frank, direct way, getting the effect by sheer force of putting on the right color in just the right place, with no tricks nor affectations, that is good painting; and the more simple, direct, and frank the manner of handling, the better the painting.
Let us understand what direct painting is first, and then consider varieties of handling. For whatever may be the subsequent manipulations, the picture is generally "laid in" with the most direct possible manner of laying on paint, and the other processes are mainly to modify or to further and strengthen the effect suggested in the first painting. And generally, also, in all sketches and studies which are preliminary preparations for the picture, the most direct painting is used, and the various processes are reserved for working out more subtle effects on the final canvas.
=Old Dutch Painting.=--Probably there are no better examples of frank painting than the works of the old Dutchmen. You should study them whenever you have a chance. Waiving all discussion as to the aesthetic qualities of their work,--as _painters_, as masters of the craft of laying on paint, they are unexcelled. And in most cases, too, they possessed the art of concealing their art. You will have to use the closest observation to discover the exact means they used to get the subtle tones and atmospheric effects.
The only obvious quality is the perfect understanding and skill of their brush-work. In the smoothest as well as in the roughest of their work, you can note how perfectly the brush searches the modelling, and with the most exquisite expressiveness and perfect frankness, follows the structural lines. No doubt there were often paintings, glazings, and sc.u.mblings; but they always furthered the meaning of the first painting, and never in the least interfered with or obscured the effect of _navete_, of candor of workmanship.
It is, however, this simple and sincere brush-work that you should strive to attain as the basis of your painting. Learn to express drawing with your brush, and to place at once and without indecision or timidity the exact tone and value of the color you see in nature at that point. Until you are enough of a master of your brush to get an effect in this way, do not meddle with the more complex methods of after-painting. You will never do good work by subsequent manipulation, if you have a groundwork of feebleness and indecision.
Direct painting is the fundamental process of all good painting.
Let me take the type of old Dutch painting to represent to you this quality of direct painting. First of all notice a basis of perfect drawing,--a knowledge, exactness, and precision which admits of no fumbling, no vagueness, but only of a concise and direct recognition of structure. Note that this drawing is as characteristic of the brush-work as of the drawing which is under it. Observe that the handling of the whole school, from the least to the greatest, is founded on a similar and perfect craftsmanship,--the same use of materials; the same deliberateness; the same simple yet ample palette; the same use of solid color candidly expressing the planes of modelling, freely following the lines of structure; the absence of affectation or invention of individual means. Whatever the individuality of the artist, it rests on something else than difference of technique. From the freest and most direct of painters, Frans Hals, to the most smooth and detailed, Gerard Dou, the directness and ingenuousness of means to ends is the same, and founded on the same technical basis of color manipulation. The one is more eager, terse, the other more deliberate and complete; but both use the same pigments, both use the same solid color, are simple, lucid, both occupied solely with the thing to be expressed, and the least degree in the world with the manner of it. That manner comes from the same previous technical training which each uses in the most matter-of-course way, with only such change from the type, as his temperament unconsciously imposes on him.
There is nothing like it elsewhere. Study it; notice the unaffectedness of brush-stroke in Rembrandt. See how it is the same as Hals, but less perfunctory. See how the brush piles up paint again and again along the same ridge of flesh, taking no notice of its revelation of the insistence of attempt at the right value, nor of its roughness of surface. To get that drawing and that color in the freest, frankest, most direct way: that is the aim. The absolute conviction of it: that is the essence of this technique of the old Dutch masters. And whatever else it may have or may not have, you will find in it all that you can find anywhere of suggestion of direct and frank and sincere painting, and nothing I can say will give you any such clear idea of what you should strive for as the basis of all the different sorts of brush-work necessary or useful in the production of an oil painting.