Most Viewed

- Browns And The Cold Semi-neutral Grays Marrone Is Practically To
- Also Called Scarlet Chrome Is A Bright Chromate Of Lead Of An
- Black Chalk
- Composition Chemical Analysis Has Shown Several Of The Blues To Be
- Burnt Verdigris
- Belong The Dutch And Flemish Schools; The Sensible Which Aims At
- Less Known As English Red Prussian Red And Scarlet Ochre True
- Olive In Dark Green; Russet And Citrine In Dark Orange The
- Known Likewise As Raw Sienna Earth Terra Di Sienna &c Is A
- Root Of The Anchusa Tinctoria Commonly Known As Alkanet A Plant

Least Viewed

- Sometimes Called China Or Chinese Ink Is Chiefly Brought From
- Red On The One Hand And Of The Middle Tertiary Russet On The
- Distilled Verdigris Or More Properly Refined Verdigris The Best Is
- Molybdenum Green
- Secondaries Orange And Green Of Both Which Yellow Is A
- Uniform Colour Thus Composed Is The Citrine Colour Of Fruit And
- Or Lamblack Is A Smoke Black Being The Soot Procured By The Burning
- While We Avoid The Compounding Of Contrasting Colours That Is The
- Only That Of Extreme Light Objects Opaque It Follows That White Is To
- And By Mixing Colours Or Tints With Black He Gets Shades It Is A

Or Mineral Grey As It Is Often Improperly Spelt Is Obtainable From

the lapis lazuli, after the blue and ash have been worked out. So
derived, it is a refuse article, worthless if the stone has been
skilfully exhausted of its ultramarine. As this is now generally the
case, the best mineral gray is no longer a waste product, but a lower
species of ash, a pale whitish blue with a grey cast. Possessing the
permanence of ultramarine, it may be regarded in colour as a very weak
variety of that blue, diluted with a large quantity of white slightly
tinged by black. A pigment peculiar to oil painting, it is admirably
adapted to that gray semi-neutrality, the prevalence of which in nature
has been just remarked. For misty mornings, cloudy skies, and the like,
this gray will be found useful.

TTITLE MIXED GRAY

is formed by compounding black and blue, black and purple, black and
olive, &c.; and is likewise produced by adding blue in excess to madder
brown, sepia, &c., transparent mixtures which are much employed. It
should be borne in mind that the semi-neutrals, like the secondaries and
tertiaries, may be so compounded as to be permanent, semi-stable, or
fugitive. The due remembrance of this cannot be too strongly insisted
upon, seeing that in every picture the browns and grays are of frequent
occurrence. These it is that lend such charm to the whole, flowing, as
it were, like a quiet under-current of colour beneath the troubled
surface of more decided hues. In the work of every true artist--between
whom and the mere painter there is as much difference as between the
poet and the poetaster--there is sentiment as well as colour, whether
the subject be an exciting battle-scene or a bit of still life. This
sentiment, as strongly felt as the colour is clearly seen, is imparted
in no small degree by the skilful use of semi-neutrality, the
compounding of which, as time goes on, will therefore affect a picture
for good or for evil.

Subjoined is an analysis of the three semi-neutrals, which serves partly
to show in what great variety they may be obtained by admixture.

Brown = Black + Yellow }
" = " + Orange } + Red, Purple, &c.
" = " + Citrine}
" = 2 Yellow + Red + Blue
" = 2 Orange + Green + Purple
" = 2 Citrine + Russet + Olive
Marrone = Black + Red
" = " + Purple-red
" = " + Russet
" = 2 Red }
" = 2 Purple-red} + Dark Brown or Black
" = 2 Russet }
Gray = Black + Blue }
" = " + Purple-blue} + 2 White
" = " + Olive }
" = 2 Blue }
" = 2 Purple-blue} + Light Brown, or Black + 2 White
" = 2 Olive }

In the last division, the White has been added to remind the reader that
grays are coloured greys, not coloured blacks; and are therefore faint
of hue. This paleness, however, need not necessarily be produced by
admixture with white: it can be gained by means of thin washes. As a
pigment, gray may be to all appearance black in bulk.

TTITLE NEUTRAL TINT,





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