Field's Chromatography: or Treatise on Colours and Pigments as Used by ArtistsField, George
Science
Field's Chromatography: or Treatise on Colours and Pigments as Used by Artists
Field, George
Color; Colors; Painting -- Technique
is obtained from the stone after the richer and more intense blue has
been extracted. Although not equal in beauty, and inferior in strength
of colour to ultramarine, it is a valuable bye-product varying in shade
from light to dark, and in hue from pale azure to cold blue. With a grey
cast, it affords delicate and extremely tender tints, not so positive as
ultramarine, but which, as water-colours, wash much better. It furnishes
grays softer, purer, and more suited to the pearly tints of flesh,
skies, distances, foliage, shadows of drapery, &c. than those composed
of other blues, with white and black, which the old masters were wont to
employ. Ultramarine, however, produces the same effects when broken with
black and white, and is thus sometimes carried throughout the colouring
of a picture. The ash, compounded with lamp black, gives a soft cold
gray for dark louring clouds, or for twilight away from the sun's
influence. Alone it is adapted to very remote hills or mountains, and
with orient yellow or aureolin to distant foliage.
* * * * *
The native phosphate of iron, which has been already described in the
tenth chapter under its name of Blue Ochre, might have been classed
among the grays, being similar in colour to the deeper hues of
ultramarine ashes. Powdered slate, slate clays, and several native
earths, likewise rank with grays; but some of the earths we have tried
are not durable, being apt to become brown by the oxidation of the iron
they contain. It may be proper here to mention those other pigments,
known as tints, which, being the result of the experience of accredited
masters in their peculiar modes of practice, serve to facilitate the
progress of their amateur pupils, while they are more or less eligible
for artists. Such are _Harding's_ and _Macpherson's Tints_, composed of
pigments which associate cordially, and sold ready prepared in cakes and
boxes for miniature and water painting.
Of the four grays in use--mineral gray, ultramarine ash, neutral tint,
and Payne's gray--the two first are quite unchangeable, and the others
sufficiently stable to be classed as permanent.
CHAPTER XX.
ON THE NEUTRAL, GREY.
Public-domain text, read in full here on John Shaqi.
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