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To Keep In Mind--the Glow Of Sunshine And The Cool Of Shade

It is a fault of even some of our best colourists, as evinced by their
pictures, to be too fond of black upon their palettes, and thence to
infuse it needlessly into their tints and colours. With such it is a
taste acquired from the study of old pictures; but in nature hardly any
object above ground is black, or in daylight is rendered neutral
thereby. Black, therefore, should be reserved for a local colour, or
employed only in the under-painting properly called grounding and dead
colouring. As a local colour, black has the effect of connecting or
amassing surrounding objects, and is the most retiring of all colours, a
property which it communicates to other colours in mixture. It heightens
the effect of warm as well as light colours, by a double contrast when
opposed to them, and in like manner subdues that of cold and deep
colours. In mixture or glazing, however, these effects are reversed, by
reason of the predominance of cold colour in the constitution of black.
Having, therefore, the double office of colour and of shade, black is
perhaps the most important of all colours to the artist, both as to its
use and avoidance.

It may be laid down as a rule that the black must be conspicuous.
However small a point of black may be, it ought to catch the eye,
otherwise the work is too heavy in the shadow. All the ordinary shadows

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