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
Now in nothing more than in
painting is prevention better than cure--indeed cure may be said to be
here out of the question: for good or for evil a picture once painted is
painted for ever. Without a strong constitution there is no hope for it;
no chemistry can strengthen the sickly frame, restore the faded colour,
stop the ravages of consumption: Science stands helpless before dying
Art.
And yet, she sighs to think, it might have been otherwise. If durable
pigments had been employed, if her counsel had been sought, this need
not have been. In the history of modern art the use and abuse of colours
would furnish a sad chapter, telling of gross ignorance, and a grosser
indifference. Happily there is promise of a healthier state of things.
When this comes, Art will be less shy to consult her sister: in the
interests of both there should be closer union. Without waiting till the
picture is finished--for then it will be too late--let her, if in doubt,
frankly display the contents of her palette and ask advice. Now, not
knowing what pigments are chosen or how they are used, never standing
by and watching the progress of the work, how can Science lend her aid?
She would willingly, for she herself needs help: at present her
knowledge is limited, not so much of the chemistry of colours as of the
properties of pigments. She seeks to mix her pound of theory with an
ounce of practice, and craves a warmer welcome to the studio. For any
approximation to the truth to be arrived at, facts must be noted with
the conditions under which they occur, not by one sister alone nor by
the other alone, but by both. In future, Art and Science should go hand
in hand, mutually dependent on each other, mutually trustful of each
other, working with and for each other, earnestly and patiently.
FOOTNOTES:
[C] Light is either direct or diffused--direct, when the sun's rays fall
upon any object; diffused, when ordinary daylight illumines objects with
white light, causing them to appear of their peculiar colours.
ADDENDUM.
With the present rapid progress of applied chemistry, an addendum in a
work of this kind is quite excusable. Even while the book is being
printed some fact may be announced which the author or editor would wish
to insert. In our case this has happened. Very recently there has been
introduced in France as a pigment
308. TUNGSTEN WHITE,
Public-domain text, read in full here on John Shaqi.
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