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Real And Lasting Benefit To Pictorial Art In General The

permanence and unaltered purity of its lightest and faintest
tints we are assured may be confidently relied upon, inasmuch as
they have been fully established by the most severe tests to
which colour can be subjected, by several of our ablest and most
talented chemists. It is, therefore, needless to enlarge upon
its merits, other than that I, for one, feel grateful for its
introduction. Its uses are manifold, and may be considered
available for every purpose requiring a Yellow of its character.
As to Gray--perhaps it is not possible to obtain more delicately
pure and transparent aerial tints than are to be produced from
a combination of Cobalt, Rose Madder and Aureolin; all of which
are of a light description and well suited for the
representation of soft and thin effects of the atmosphere. These
colours are each of them beautiful, and yield a most exquisite
range of tones, which, as they mix together most kindly, render
them desirable where purity and delicacy are sought. As to
Foliage.--In speaking of Aureolin as adapted for the colouring
of foliage and herbage, it is impossible to say too much in its
praise. It imparts the vividness and freshness of nature to
every colour with which it is combined--a quality of the highest
order. As a colour for drapery it has no equal, and may be
employed with perfect success, either by itself or with any of
the other pigments.

"The following table of compound tints will be found extremely

Aureolin. Aureolin. Aureolin. Aureolin.
Burnt Sienna. Vandyke Brown. Sepia. Sepia, or Rose
Indigo, or Indigo, or French Madder.
French Blue. Blue. Cobalt.

Aureolin. Aureolin. Aureolin. Aureolin.
Indigo. Oxide of Chromium. Emerald Light Red.
Green. Cobalt, or

Aureolin. Aureolin. Aureolin. Aureolin.
Burnt Sienna. Burnt Umber. Brown Madder. Rose Madder.

"Aureolin, in combination with Cobalt and Sepia, or Rose Madder,
gives most agreeable and delicate tints for distant trees, when
under the influence of a soft light, or hazy state of the
atmosphere. Having most impartially and diligently tested the
qualities of the Aureolin, I can and do most conscientiously
recommend its adoption by all who practise water-colour

The foregoing sufficiently proves the value of aureolin in water, and
similar flattering notices have been given of the colour in oil. Both in
a chemical and artistic sense, therefore, this new primitive yellow
merits the highest regard, and justly claims a foremost place among that
little band of pigments which are without fear and without reproach.

For mural decoration, aureolin is admirably adapted, but it cannot be
used in enamel, the colour being destroyed by great heat.


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