Digitized by the Internet Archive in 2017 with funding from Getty Research Institute https://archive.org/details/artofpaintinginoOOauth THE ART OF PAINTING IN OIL, RENDERED FAMILIAR TO EVERY CAPACITY : Extracted from the WORKS OF THE MOST EMINENT MASTERS, OF THE Italian, Flemish, and English Schools; (but principally -from Mr. Bardwell.) To which is prefixed, AN EXPLANATION OF THE METHOD OF MIXING THE COLOURS TO THE VARIOUS TEINTS USED FOR» PORTRAITS, LANDSCAPES, 8cc. BY THE AUTHOR OF THE ART OF DRAWING IN PERSPECTIVE. ELEVENTH EDITION. Uontron : PRINTED FOR R. H. LAURIE, MAP, CHART, AND PRINT, SELLER, NO. 53 , FLEET STREET. • ' 1826. Weed and Rider, Printers, Little Britain. Just Published, By R. H. LAURIE, No. 53, Fleet Street, AS COMPANIONS TO THIS WORK. 1. The PAINTER’S COMPANION; or, A Treatise on Colours: showing how to make the several Sorts from their proper Ingiedients; together with the most useful for Colouring Maps, Prints, &c. &c. ; the whole being Practical Improve- -inents on the Experiments of the Hon. Robert Boyle. Very useful for Gentlemen and Ladies that amuse themselves . with Painting in Water-Colours, as well as Designers, Lim- ners, &c. &c. Improved Edition. Price One Shilling- 2. The ART of PAINTING in WATER-COLOURS, &c. exem- plified in Landscapes, Flowers, &c. Together with Instruc- tions for Painting on. Glass, and in Crayons : explained in a full and familiar Manner. With particular Directions for Preparing the Colours, agreeably to the Practice of the most eminent Masters. By the Author of the Artist’s Assistant. Price One Shilling. 3 . The ART of DRAWING without a Master ; from Monsieur Le Clerc ; being a familiar Method of Drawing the Human Figure, beginning with the first lines; neatly engraved on Twenty Plates. Price One Shilliniy. 4 Ihe ART of DRAWING in PERSPECTIVE; wherein the Doctrine of Perspective is clearly and concisely treated of, upon Geometrical Principles; and a mechanical Method of Perspective and Designing, invented for the benefit of those who are strangers to Mathematics ; illustrated with a variety of Examples, on Copper-Plates. Price One Shilling. 5. The ART of PAINTING in MINIATURE, on Ivory, in the manner at present practised by the most eminent Artists in that profession ; comprised under the following heads : viz. The proper Colours for Painting in Miniature, the Nature and Properties of each, and Manner of preparing them ; the mode of choosing Camel-hair Pencils ; instructions relative to the Choice of Ivory, bleaching and polishing it prepara- tory to the beginning a Picture; Method of managing the Colours at the different sittings in taking the Picture from Life, or in copying from another Picture; by John Payne. To which is annexed, PAINTING in WAX-CRAYONS, and the ART of BURNISHED GILDING on GLASS, in a variety of Branches, a matter known by very few, and at present in high estimation. Price One Shilling. (5. The ARTIST’S ASSISTANT in Drawing, Perspectii^, Etch- ing, Engraving, Metzotinto-Scraping, Painting on Glass, in Crayon, in Water-Colours, and on Silks and Satins. Con- taining the easiest and most comprehensive Rules for the At- tainment of those truly useful and polite Arts, methodically digested, and adapted to the Capacities of young Beginner. Illustrated with suitable Examples, engraved on Copper. Price One Shilling. INTRODUCTION. The elder Pliny has observed, that the ancients painted with four colours only, and from those com- posed all their teints. Mons. de Piles was of opi- nion, that of these four colours they made their FIRST, or DEAD-COLOURING. How it really was, time has put it out of our power to determine; but, if we suppose those four principal eolours in perfection, ' then it can hardly be longer doubted, but that from these, judiciously varied, might be made all the colours in nature. For our part, Ave cannot believe, that the four capital colours of the ancients would mix to that perfection we see in the works of Titian and Rubens : and, if we have no cer- tain knowledge of their method of colouring, who lived within the last two centuries, how should we understand that of those who lived nearly two thou- sand years ago ? Why the method and practice of colouring, so well known to Rubens and Van Dyck, should not have been continued down to the present masters, is, indeed, surprising. It is plain, from the works of their pupils, that they knew the method ; because, in their pictures, we see the same sort of colours and colouring : and, from the little variety of capital colours used by them, it is not to be doubted but that the whole was comprised in a few principles, neither difficult nor tedious. All the masters, from Rembrandt, sunk gradually below each other in the art of colouring ; therefore we ma)?, with certainty, date the decline of that art from his time. This gradual degeneracy in the knowledge of so charming an art can be attributed to nothing but in- ability, or want of generosity, or both. - These gen- A 2 IV INTRODUCTION. tlemen, probably, were not able to give us so perfect an account as the great masters, yet they might have communicated what they had learned from them ; and, if it were against their own private interest to have published it whilst they practised, they should, from general regard to men of taste, and to the art itself, have left it behind them, in order to have given to posterity an opportunity of reaping the benefit of their studies. We flatter ourselves that the following sheets con- tain something that may be of consequence in the acquisition of this noble art, and hope that the prac- ticable method of colouring here laid down, which has been the result of much study and long experi- ence, will be found both useful and agreeable. De Piles says, that painters spend many years in the search of knowledge, which they might have at- tained in a little time, had they hit at first upon the right path. This truth we have experienced, and confess that the works of Van Dyck and Rembrandt are the surest guides to nature. It is from these most excellent masters that our method has been established. From their pictures we have traced the ^rst lay of colours, and from them have acquired the virgin teints and finishing secrets, although we have always applied them to practice from nature. In this work we begin with a short account of the principal colours used in flesh, and proceed with the principal teints, &c. under the following heads : — THE FIRST PAINTING, OR DEAD-COLOURING. SECOND PAINTING. THIRD OR LAST PAINTING. OF PAINTING BACK-GROUNDS. SOME REMARKS ON COPYING. OF PAINTING DRAPERIES. OF LANDSCAPE-PAINTING.* ♦ For the Principles of Perspective, see a small Treatise, by the Publisher of this Work. INTRODUCTION. V All these particulars we have endeavoured to make familiar, clear, and instructive, without design to flatter or offend, and throughout the work have had the utmost regard to truth. The motive of publishing this little treatise is solely for the benefit of the art. Such as are born with a happy genius, though destitute of a master or guide, may, from these instructions, acquire a competent knowledge of colouring almost without studying. Here the lovers of painting, who study for pleasure or amusement, may be conducted easily, step by step, to the secrets of that art, which, of all the designing ones, affords the greatest pleasure to the mind. , It has been observed that Titian and Rembrandt prepared their first lay, or grounds, very nearly alike; and with colours that kindly united, and were as near to the life as possible, on which they laid their virgin teints, with light strokes of the pencil ; and thus they imitated the force and freshness of nature. They were convinced that there were cer- tain colours which destroyed each other, if they were mixed to excess ; and that they should be as little shaken as possible by the motion of the pencil. It is certainly true, that the great masters, both ancient and modern, imitated nature in their first painting, or dead-colouring, so far as they could without dirty- ing the colours, omitting only the finishing-touches and colours that should come last. This we design to shew in the course of our work, in the most in- telligible manner, and exactly to the rules and me- thods of the best practitioners. Some painters have imagined that the great masters had colours which we have no knowledge of ; and, probably, they judged correctly. Yet we have found none of them in the pictures of Van Dyck and Rem- brandt, but what are common ; only that some of them are better than ours, which would be reme- died if the art were more encouraged. Those we have would, we are convinced, appear much finer, if they were laid on proper grounds. VI INTRODUCTION. A painter should have as great a regard to his first lay as he has to the succeeding parts of his work. Sir Godfrey Kneller, in Sir Peter Lely’s time, stu- died his manner, and prepared his grounds and first lay of colour on such cloth as Lely used ; but, soon after the (kiathv of the latter, he fell into a slighter mode, which was more agreeable to his genius and inclination, and invented the ^ cold grey-coloured cloths, on which he established his slight expeditious manner. Then followed the period in which the painters exposed their want of understanding, by neglecting the charming style of Van Dyck, and preferring that of Kneller. Colouring was not his talent, yet Kneller was, in liis time, the best face-painter in Europe; and since him there have been few artists, except the president of the Royal Academy, and the late Sir Joshua Reynolds, whose heads can stand any comparison with his. Reynolds’ manner was certainly peculiar to himself, and not easily copied. The fine character of his portraits, elegant turn of his figures, and won- derful expression, added to a certainty of touch, rendered his pictures superior to any thing since Van Dyck. And it may not be amiss to add here, that, while living, he was easy of access, extremely communicative, and ready to lend his performances to young students, for their improvement at home, in their leisure hours. These amiable characteristics, together with his elegant and instructive lectures on painting, delivered at the Royal Academy, are me- morials of his worth, unfading and everlasting, which will be known when his paintings are no more. Attention to the following is recommended to young students : — The Speech of Sir T. Lawrence, President, on opening Royal Academy, December, 1821. Gentlemen — I congratulate you on the decided improveraeni of one of the Schools of Art, (the Life Academy,) and the genera, alacrity displayed in all. A spirit of emulation, so useful in al professions, is most particularly essential to the perfection of art 1 caution you, gentlemen, against too great a reliance on tha INTRODUCTION. VII >enius with which Nature has gifted you ; it is by perseverance done, and not by natural talent, that you will be enabled to sur- nount the difficulties of art— those difficulties which enhance ind give superiority to our profession over all others. While I congratulate you that the Life Academy has this year retrieved ts character, I cannot omit still to enforce the necessity of a constant attention to correctness and purity of drawing ; and this too, in the most minute and apparently insignificant parts, as «^ell as in the general contour of the whole. The works of anti- quity should never be absent from your memories: let no one lepend upon the correctness of his eye for fidelity of represen- tation, without having first formed his ideas of beauty from these ; for a knowledge of beauty is essential to that of truth. The gentlemen who are candidates in historical painting I would 2amestly advise, when inventing their compositions, not to be led away by an attention only to a play of line, and an harmonious adjustment of parts, but to let truth, natuie, and simplicity, be their guide. It is well known that the happiness of life is often lost by an inattention to known and vulgar truths ; and, in the same manner are the beauties of art missed by overlooking those simple and affecting incidents which Nature presents to us every day. When inventing, gentlemen, I would advise you not to follow this or that great master, but to consider your subject as it would have taken place in reality j rendering every thing sub- ordinate to expression, for it is by expression alone we can touch the heart. “ He who would make us feel, must feel himself,’* says a high authority, and the experience of every day justifies the truth of the assertion. To attain the powers of expression, I would recommend to you to make it your constant pursuit every day and hour of your lives; to concentrate your thoughts to- wards that point ; for whatever tends to fix and concentrate our thoughts, elevates us as thinking beings. Leonardo da Vinci, Raphael, Dominichino, and Rembrandt, are the four greatest masters of expression, and from the sketches of these inexistence, it is evident that they made expression the primary and constant object of their studies. The first designs of Leonardo for all his works, excepting those upon fortification and the mathematics, are highly-finished drawings of expression. For the characters and expressions in his large picture of the “ Last Supper,” be appears ail his life-time to have been searching through nature. Raphael seemed to have formed in his mind the whole of his in- tended work,^^before putting a line upon paper, and all was regu- lated by expression . Dominichino thought no line worthy of the painter that the mind did not draw before the hand. The port- folio of Rembrandt is like the page of Shakespeare — every draw- ing is in itself a drama — the passions speak for themselves ; com^ position, colour, arrangement of light and shade, all are lost in the power of expression. It is this, and this alone, that entitles our works to situations in the galleries of Monarchs, and by the side of the great efforts of genius of different ages. CONTENTS. PAGE OF the 'principal Colours used in the Fleshy from which all the Teints are mad^ • Of the principal Teints that are absolutely neces- sary for painting Fleshy all of which are mad^ from the principal Colours First Painting * * T 'The Colours and Teints that are necessary for the First Painting of the Flesh The Second Part of the First Painting Second Painting The Second Part of the Second Painting The Third Painting, or Finishing Of Back- Grounds Of the First Lay On Copying • Of Painting Draperies • White Satin Blue Satin Scarlet and Crimson* Pink Colour Yellow - Green * * * Changeable Black Linen Of Painting Landscapes Principal Colours used in Landscapes Of Dead- Colouring Second Painting The Third and Last Painting : Recipes.— T o prevent Pictures from Cracking— A Method of preventing Lake from coagulating , or qrawingfat—To make M'. Guelp—For a Jim new Dark Green for Trees, Fore-Grounds, Jfc. Pqt a 'very bright Green — For a middling Green — For a fine warm Flesh Colour 39 THE ART OF PAINTING IN O £ Zb. Of the pnncipal Cohiirs used in the Fleshy from which all the Teints are made, I. Flake white, or fine white, is the very best white w e have : This colour should be ground with the finest poppy-oil that can be made. At pre- sent our white is bad, and apt to turn yellow, because the oil most generally sold is not real poppy. White is a friendlj^-warking colour, and comes for- ward with yellow and' reds, but retires with blues and greens. It is the nature of all whites to sink into whatever ground they are laid on ; therefore they should be laid on white grounds. II. Ivory-Black is the best black : it sympathises and mixes kindly with all colours. It is a true shade for blue. Ivory*black and a little Indian-red make the best general shadow-colour that can be used. It is generally ground with linseed-oil, and used with drying oil. Black is cold and retiring. III, Ultramarine is the finest blue in the w^orld ; It is a tender retiring colour ; never glares ; and is a beautiful glazing colour. It is used with poppy- oil. > IV. Prussian is a very fine blue, and a kind- working eolour ; It is ground with linseed oil, thoggh B 2 THE ART OF PAINTING IN OIL. we think that nut.oil is more proper^ It should never be used in the flesh, but in green teints and the eyes. V. Light Ochre is a good mixing colour, and of great use in the flesh : it is usually ground with linseed-oil, but nut-oil is better. All yellows are strengthened with red, and weakened with blues and greens. VI. Light Red is nothing but fine light ochre burnt: this and white, in mixing, produce the most perfect flesh-colour that can be made. It is a beauti- ful, clean, kind-working, colour ; but too strong for the white, and therefore will grow darker. It should be ground and used with nut-oil. VII. No Vermilion but what is made of the true native cinnabar should ever be used. It will not glaze ; but is a fine colour when it is glazed. It is ground with linseed-oil, and should be used with drying oil. VIII. Carmine is the most beautiful crimson that can be ; it is a middle colour, between lake and ver- milion ; is a fine working colour, and glazes delight- fully. It should be ground with nut-oil, and used with drying oil. IX. Lake is a tender sympathising deep red, but of no strong body ; therefore it should be strengthened with Indian-red. It is the best glazing colour that can be used. It is ground with linseed oil, and used with drying oil. X. Indian-Red is a strong pleasant- working co- lour, but will not glaze well ,* and, when mixed with white, falls a little into lead. It is ground and used as the lake. XI. Brown Pink is a fine glazing colour, but of no strong body. In the flesh, it should never join or mix with the lights, because this colour and white antipathise, and mix of a warm dirty hue ; for which reason their joinings should be blended with a cold middle teint. In glazing of shadows it should be laid before the other colours that are to enrich it : ' THE ART OF PAINTING IN OIL. 3 it is one of the finishing colours, and therefore should never be used in the first painting. It is strengtheued with burnt umber, and weakened with terra verte, ground with linseed oil, and used with drying oil. XII. Burnt Umber is a fine warm brown, and a good working strong colour. It is of great use in the hair, and mixes finely with the warm shade. XIII. A beautiful warm Orange Colour is pro- duced by burning fine flake white, in a crucible, till red hot. This was communicated to the author by J. ZoflTanij, Esq. R.A., who used it with great sue' cess in warm skies, buildings, &c. Of the principal Teints that are absolutely necessary for Painting Flesh; all of which are made from the primary Colours. I. Light Red Teint is made of light red and white : it is the most kind and best conditioned of all colours, for the general ground of the flesh. With this colour and the shade teint we should make out all the flesh, like claro obscuro, or metzotinto. We should also remember that this colour will grow darker, because it is in its nature too strong for the white ; therefore we should improve it, by mixing vermilion and white with it, in proportion to the fairness of the complexion : and though it is thus mixed, 5^et we shall call it, throughout this work, the LIGHT RED TEINT, becRuse we would not have the vermilion teint confounded with it, as if there w ere no difierence. II. Vermilion Teint is only vermilion and white mixed to a middle teint ; it is the most brilliant light red that can be. It agrees best with the white, light red, and yellow teints. III. Carmine Teint is carmine and white only-, mixed to a middle teint : it is, of all colours, the most 4 THE ART OP PAINTING IN OIL. beautiful red that can be for the cheeks and lips ; it is one of the finishing colours, and should never be used in the first painting, but laid upon the finishing colours without mixing. IV. Rose Teint is made of the red shade and white, mixed to a middle degree, or lighter : it is one of the cleanest and most delicate teints that can be used in the flesh, for clearing up the heavy dirty colours ; and therefore, in changing, will sympathise and mix kindly. V. Yellow Teint is often made of Naples yellow and white, but it is as well to use light ochre and white, which is a good working colour. Remember that the ochre is too strong for the white, therefore Ave should make a little allowance in using it. It follows the light red teints; and yellows should always be laid before the blues. If we lay too much of it, we may recover the ground it was laid on Avith the light red teints. VI. Blue Teint is made of ultramarine and white, mixed to a lightish azure : it is a pleasant working colour ; with it We should blend the gradations. It follows the yellows, and with them it makes the greens; and, with the reds, it produces the purples. No* colour is so proper for blending down or soften- ing the lights into keeping. " VII. Lead Teint is made of ivory-black and fine white, mixed to a middle degree : it is a fine retiring i colour, and therefore is of great use in the gradations, and in the eyes. VIII. Green Teint is made of Prussian blue, light i " ochre, and white. This colour will dirty the lights, and should be laid sp'aringl}? in the middle teints. It i is mostly used in the red shadows, where they are ^ too strong. It is of a dirty antipathising nature. IX. Shade Teint is made of lake, Indian red, i black and white, mixed to a beautiful murrey colour, of a middle teint. This is the best colour for the i general ground of shadows ; for which reason we call | it the shade teint. It mixes with the lights delight- 1 THE ART OF PAINTING IN OIL. 5 fully, and produces a pleasant clean colour, a little inclined to the reddish pearl. As all the four colours of its composition are of a friendly sympathising na- ture, this will consequently be the same ; and, there- fore, may be easily changed by the addition of any other colours. X. Red Shade is nothing but lake and a very little Indian-red. It is a charming working colour, and a good glazer : it strengthens the shadows on the shade teint, and receives, when it^s^u et, the green and blue teints agreeably. It is a gbod ground for all dark shadows. XI. Warm Shade is made of lake and brown pink, mixed to a middle degree. It is a fine colour for strengthening the shadows on the shade teint, whether they be wet or dry. We must take care that it does not touch the lights, because they mix of a dirty snuff colour, and therefore should be softened with a tender cold teint. XII. Dark Shade is made of ivory-black and a little Indian-red only. This colour mixes very kind- ly with the red shades, and blends agreeably with middle teints in the dead- colouring. It is a charm- ing glazing colour for the eye- brows and darkest shadows. It is, of all, the most excellent shadow co- lour, and one of the finest working colours we have. XIII. Neutral Teint is composed of Frankfort blue, yellow ochre, and vermilion. FIRST PAINTING. The Colours and Teints that are necessary for the First Painting of the Flesh, 1. Fine white. 2. Light ochre,^ and its two tients. 3. Light red, and its two teints. 4. Vermilion, and its teints.. b3 6 THE ART OF PAINTING IN OIL. 5. A teint made of lake, vermilion, and white. 6. Rose teint. 7. Blue teint. 8. Lead teint. 9. Green teint. . / ' • 10. Half-shade teint is made of Indian-red and white. ‘ 1 1. Shade teint. ^ 12. Red shade. 13. Warm shade. The finishing pallet for a complexion requires six more, viz. carmine and its teint, lake, brown-pink, ivory-black, and Prussian blue. The laying on of dead-colouring we divide into two parts ; the one we call the first lay, or ground ; the other, the laying on virgin teints. The first lay of colours consists of two parts : the one is the work of the shadows only, and the other that of the lights. The work of the shadows is to make out all the drawing, very correctly, with the shade teint, in the same manner as if it were to be done with this colour only ; and remember to drive or lay the colour sparingly. The lights should be all laid in with the light red teint, in different degrees, as we se^ them in nature. These two colours united, produce a clean, tender, middle teint; for mixing with the shade teint, they turn to a pearly hue ; and by strengthening them with the light red, we may work to a very good resemblance. In uniting the lights and shades, we should use a long softener, about the size of a large swan-quill, which will help to bring the work into character, and leave the colour- ing more delicate ; then go over the darkest shadows with the red or w arm shade, which will finish the first lay. The warm shade being laid on the shade teint, improves it to a warmer hue: but, if laid instead of llie shade teints, it will dirty and spoil the colours it THE ART OF PAINTING IN Oil. 7 mixes with; and, if the red shade be laid first, instead of the shade teint, the shadows would then appear too red and bloody ; therefore, notwithstanding these two colours are the best that can be for the shadows, yet they are too strong to be laid alone, which is a proof of the great use and merit of the shade teint. Here we may observe, that the shade and light red teints are so friendly and delicate in their nature, that they will not dirty, though we are continually changing them. How proper, then, and agreeable to our purpose, are they, for making the most prin- cipal part of the likeness, when, in altering ana changing, they always produce a clean colour of the inviting pearly hue. THE SECOND PART OF THE FIRST PAINTING. In order to finish the first painting, improve the reds and yellows to the complexion, and after them the blues ; observing, that the blues on the reds make the purple, and on the yellows produce the green. The same method is to be understood of the shadows; but be sure to leave them clean, and not too dark : therefore allowance should be made in the grounds with the light red, because glazing them will make them darker. When the cloth is of a dark or bad colour, there must be a strong body of colour laid all over the shadows, such as will not sink into the ground, but appear warm and a little lighter than,> the life, so that it may be of the same forwardness to finish as if it had been a light ground ; therefore the business of dead colouring is, that we leave it always in the same order for finishing, though the colour of the cloth be quite the reverse. We are convinced, by experience, that the grounds of shadows, in what we call the dead colouring, should be such as will support the character of the finishing 8 THE ART OF PAINTING IN OIL. colours; which ground must be clean, and a little lighter than the finishing colours; we say a little lighter, because the finishing of the shadows is glazing; and no other method but glazing can leave such brilliancy and beauty as they ought to have; for we find that glazing the shadows in the first painting is not so proper as laying a body of shadow colours, that are very near to the life, though a little lighter. These may be glazed and touched upon, when dry, with a great deal of ease ; but if we begin the first painting with glazing, we shall find it will stare, and be of no use ; and the solid colours which are laid on it will look heavy and dull; therefore all shadows and colours that are to be glazed should be done with colours of a clean solid body, because the glazing is more lasting, and has the best effect on such colours. Remember to leave no roughness ; we mean such as will appear rough, and interrupt or hurt the character of the finishing colours ; which, by examining this work, w hilst it is wet, with a soft tool, or, when it is dry, with a knife, may be avoided, as it will easily take off* the knots and roughest parts. The light red, and white improved, is superior to all other colours for the first lay or ground, which should be always done with a full pencil of stiff* co- lour, made brighter than the light, because it will sink a little in drying. The greater the body and quantity of colour, and the stiffer it is laid, the less it w'iil sink. Every colour in drying will sink, and partake, in proportion to its body, of the colour it is laid on ; therefore all the lights of the flesh, if not laid on a light ground, must consequently change a little from the life, if* no allow ance be made. I'he shade teint for the shadows should fall into the rose teint as the complexion grows delicate; all which should be lightly united, with a soft long-pointed hog tool, to the lights, making out the whole like metzotinto. We believe the great masters very sel- dom softened or sweetened the colours; but in THE ART OR PAINTINC? IN OIL. 9 uniting the first lay they were very careful in pre- serving the brightness of their colours, and therefore did not work them below the complexion : for, to force or keep up a brilliancy in the grounds, can only be done with the whites, reds, and yellows ; which method will make up for the deficiency of the white grounds ; therefore, the first painting should be left bright and bold, and the less the colours are broken the better. We should forbear using any co- lours that will produce them, and be contented to add what is wanting in the next painting; where, if we fail, a clean rag will restore the first ground. SECOND PAINTING. The second painting begins with laying on the least quantity that can be of poppy oil, then wipe it almost all off with a dry piece of silk handkerchief. The second painting is also divided into two parts : *^One we dall the first lay of the second painting, which is scumbling the lights and glazing the sha- dows : the other, finishing the complexion with the virgin teints, and improving the likeness, as far as we can, without daubing. / Scumbling is going over the lights, where they are to be changed, with the light red teints, or some other of their own colours, such as will always clear and improve the complexion, with short stiff pencils; but such parts only as require it, otherwise the beauty of the first painting will be spoiled, and we make our- selves double work. The light red teint improved is the very best colour that can be for scumbling and improving the com- plexion in general. Where the shadows and drawings are to be corrected, we should do it with the shade teint, by driving the colour very stiff and bare, that we may the easier retouch and change it with the. finishing teints. Some parts of the shadows should 10 THE ART OF PAINTING IN OIL. be glazed with some of the transparent shadow co- lours, such as will improve and come very near to the life ; but be sure not to lay on too much of it, from fear of losing the hue of the first painting, the ground of which should always app^ear through the glazing. Be very careful in uniting the lights and shades, that they do not mix dead and meally ; for the more the lights mix with the shades, the more meally those shades will appear. Thus far the com- plexion is prepared and improved, in order to receive the virgin teints and finishing touches. THE SECOND PART OF THE SECOND PAINTING, Is to go over the complexion with the virgin teints : —These are the colours which improve the colouring to the greatest perfection, both in the lights and shadows. This should be done in the same manner as we laid them in the second part of the first painting ; that is, with the reds, yellows, and blues, blending them with delicate light touches of the tender middle teints, without softening. We should leave the teints and their grounds clean and distinct, and be content to leave off* whilst the work is safe and unsullied, leaving what is farther required for the next sitting ; for, in attempting the finishing touches before the other is dry, we lose the spirit and drawing, and dirty wherever we touch. THE THIRD PAINTING, OR FINISHING. It is to be supposed the complexion now wants very little more than a few light touches : therefore, there will be no occasion for oiling. Begin with correcting all the glazing : first, where the glazing serves as a ground or under part ; then > THE ART OF PAKNTING IN OIL. 11 we should determine what should be done next, be-^ fore we do it, so that we may be able to make the alteration on the part with one stroke of the pencil. By this method, we preserve both the glazing and the teints ; but if it happens that we cannot lay such avariety of teints and finishing colours as we intended, it is much better to leave ofl^ while the work is safe and in good order ; because those few touches, which would endanger the beauty of the colouring, may easily be done, if we have patience to stay till the colours are dry ; and then, without oiling, add those, finishing with free light strokes of the pencil. We believe that Rembrandt touched upon his best pictures a great many times, letting them dry be- tween: It was this method, most certainly, which gave them that surprising force and spirit which are so inimitable. We find it much easier to soften the over-strong teints when they are dry, than when they are wet, because we may add the very colours that are wanting, without endangering the dry work. If I any of the colours of the pallet require to be a little I changed to the life, when we are painting, it is much I better to do it with the knife on the pallet than with i the pencil, because the knife will mix and leave it in good order for the pencil. OF BACK GROUNDS. Van Dyck made out the keeping in his back grounds more from the different opposition and har- mony of the colours than from his knowledge of the claro obscuro. We confess that we cannot find, in his pictures, the expressive intelligence, of light and shade, which is so striking and beautiful in Rem- brandt’s. Van Dyck’s general method was to be very still and mellow, and to break the colours of the ground with those of the drapery. This will cer- tainly produce harmony, the principles of which method belong only to the art of colouring ; but the 12 THE ART OF PAINTING IN OIL. knowledge of light and shade imparts that surprising ! force and strength which, at first sight, we find in Rembrandt’s works. We have seen the picture of a lady, wherein he has made the ground light enough ; to shew her complexion and hair, which was dark brown, and in the greatest perfection : the ground was a w all, which, near to the face, was lighter than the shadows of the flesh; and the light diminished so artfully, in the gradations, that, though the part around the head w^as much darker, yet it appeared to be of the same colour with that near the flesh. We must own that we like this method of relieving the head from the ground better than Van Dyck’s method, where he has made the ground almost of the same colour with the hair; and though we ad- mire this way of breaking the colours of the ground with those of the draperies, yet we are not so much pleased where there appears too near a sameness, as we have seen in some of his pictures, w^herein he has carried this principle so near that it is almost imper- ceptible. In Rembrandt’s pictures at Yarmouth, the lights and shades are as visible as those in his prints, and are remarkably broad, clear, and still; the sha- xiows are very warm and thin, and look as if they were all painted at oncej with' a plenty of colour, that appears transparent, which transparency was effected by glazing the dead colouring. The principal colours that are necessary for paint- ing of back grounds in portraiture, as walls, buildings, or the likd, are — white, black, Indian-red, light and browm ochre, Prussian and burnt umber; from which the eight principal teints are made, as follows: 1. Pearl is made of black, white, and a little Indian-red. 2. Lead, of black and w^hite, mixed to a dark lead < colour. 3. Yellow, of brown, ochre and white. 4. Olive, of light ochre, Prussian, and white. 6. Flesh, of Indian-red and white, mixed to a middle teint. THE ART OF PAINTING IN OIL. 13 6. Murrey, of Indian-red, white, and a little black, mixed to a kind of purple of a middle teint. 7. Stone, of white, umber, black, and Indian-red. 8. Dark Shade, of black and Indian-red only. Here the lead teint serves for the blues, the flesh teint mixes agreeably with the lead, and the murrey is a very good blending colour, and of great use where the olive is too strong; the umber, white, and dark shade, will produce a fine variety of stone co- lours; the dark shade and umber, used plentifully with drying oil, make a charming warm shadow colour. All the colours should be laid with drying oil only, because they mix and set the better with the softner. Where the marks of the trowel are so strong in the 'priming of the cloth, that one body of colours will not be sufficient to conceal it, we should lay a colour to prevent it, which should be dry before we begin with those parts we expect to finish at one painting. The method of painting back-grounds we divide into two parts : the first part is the work of the first lay ; the second is to follow on that with the finish- ing teints. OF THE FIRST LAY. W E should always begin from the shadowed side of the head, and paint the lights first; from them go into the gradations and shadows, which should be done with a stiffish tool, very sparingly, with the dark shade and white, a little changed with the colours that will give it more of the required hue, but very near in regard to tone and strength, leaving them like metzotinto. The dark and warm shadows should be laid before the colours that join them. This we should do with the dark shade and umber, drove with drying oil; we say, before the colours that join them, because, if c 14 THE ART OF PAINTING IN OIL. those colours were laid on first, they would interrupt and spoil the transparency, which is their greatest beauty. The more the first lay is drove, the easier and better we may change it with the finishing teints; therefore we may lay them with the greater body. The second part is to follow directly, whilst the first lay is wet, with those teints that we think are the most proper to harmonize and finish with. » Begin with the lights first, and remember, as we heighten and finish them, to do it with warmer co- lours : and let those be accompanied with fine tender cold teints. The lightest parts of the ground are always nearest to the shadowed side of the head : This is the part which governs all the rest, and should be painted with a variety of light warm clear colours, which vanish and lose their strength imperceptibly in their gradations. These should be laid with a kind of cloudy touch, rather than spotted ; and we must take care that we do not cover too much of the first lay, but consider it as the principal colour. From the lights we go to the gradations and sha- dows ; for when the lights are well adapted to pro- duce and support the head, it is so easy, I think, to fall from them into whatever kind of shadows we shall find most proper for our work ; then soften and blend the whole with a long large hog-tool, which, with the strength and body of the drying-oil, will melt and sweeten altogether in such a flattering manner, as will seem surprisingly finished. Re- member the teints will sink, and lose a little of their strength and beauty in drying. All the grounds, as walls, &c. should be finished at one painting; but, if they want to be changed, we may glaze them with a little of the dark shade and drying-oil, drove I very bare ; on which, with a few light touches of the colour that is wanting, we may improve their hue. The dark shadows may also be strengthened and improved by glazing, which should be done after the figures are nearly finished, from fear of making them too strong. THE ART OF PAINTING IN OIL. 15 Rembrandt’s grounds are rather brighter in the lights, and have more variety of teints than any other painters ; for he had observed, and jnstly too, that those teints diminished in proportion with the lights ; therefore his shadows have but a faint appearance of teints. He understood the gradations in perfection, by mixing and breaking the first lay of colours so artfully, that they flatter us in regard to their real strength. Fresnoy says, let the field or ground of the picture be pleasant, free, transient, light, and well united with colours which are of a friendly nature to each . other, and of such a mixture as tliat there may bo something in it of every colour that composes your work, as it were, the contents of your pallet. De Piles also observes, that a variety of teints, very nearly of the same tone, employed in the same figure, and often upon the same part, with mode- ration, contribute much to the harmoriy. All the curtains should be dead-coloured when we paint the ground, and should be done with clean colours, of a neat hue to the intended curtain, such as will support the finishing colours : do it with a tender sort of keeping, and near in regard to their tone in the lights, but much softer in the shadows : all which should be mixed and broken with the colours of the ground; and, as Fresnoy observes, bodies that are ^ack in the ground, should be paint- ed with colours allied to those of the ground itself. It will often happen, from want of the life, or of some design, that we cannot make the folds the first paint- ing; we should then leave the masses of light and shadow, in regard to the keeping of the picture, broad and well united together, such as may seem easy to finish on. The colours of the landscape, in back- grounds, should be broke and softened also with those of the parts which join them : This method brings them Into keeping, which will make all the parts of the ground, as it were, of one piece, so that the dif- ferent parts do not stare, nor cut at the extremities. 16 THE ART OF PAINTING IN OIL. The sky should be broke with the lead and the flesh teints. The murrey teint is of great use in the grounds of distant objects; and the umber and dark shades in the near-grounds. The greens should be more beautiful than we intend them, because they will fade and grow darker. After all is painted, we should go over the whole very lightly with the softener, as we did the grounds, which will make it look agreeably finished. ON COPYING. The author of the Analysis of Beauty, (the late Mr. William Hogarth,) has given his opinion of copying, in his true spirit and genius ; treating with ridicule one of the most useful parts of painting : but this we impute to that originality of ideas peculiar to himself, which did not render it necessary for him to have recourse to ancient pictures ; yet to him we are indebted for the best collection of moral and SATIRICAL subjects that have graced the last cen- tury; among which are, his six celebrated pictures of the Marriage a-la-Mode, now belonging to Govern- ment, and which retain their original purity and fine colouring. Is it reasonable to believe, that a painter, who un- derstands the true merit of copying, would treat that part of the art with contempt which the greatest masters have always practised and esteemed ? Men of common sense know that artists, in all ages, have copied and studied each other, in whatever they found best adapted for their purpose, and for the advance- ment of their art. Were it not for this, the art itself would soon dwindle and decay; and I wish that this may not have been the case with us. Rubens studied principally the works of Titian, Paul Veronese, and Tintoret; that is, he copied TrtE ART OF PAINTING IN OIL. ♦ 17 such of their pictures as he thought most worthy of his imitation, and kept them for his own use. Van Dyck copied Titian and all the Venetian schools ; or, in De File’s phrase, he skimmed their ci'eam. Teniers is celebrated for transforming himself into as many masters as he copied, which he did so ex- actly, that it is hard to distinguish the copies from the originals. Hanueman’s copies from Van Dyck are taken for the originals of that great master. We have seen copies, by Stone, sold at great prices, for undoubted originals, notwithstanding they were di- vested of that free pencilling and charming variety of teints which are so apparent in Van Dyck. Bucks- horn was one of the last good copiers that we had in England ; those who followed him and his master, Lely, soon dwindled to half-artists. There is a copy of Buckshorn’s painting, after Van Dyck, which we like much better than any of Stone’s ; we mean the picture of the Earl of S^fford and his Secretary, in the late Marquis of Rockingham’s collection, which is well painted, and deservedly esteemed. We believe that every one that has heard of An- drea del Sarto’s copy of Leo the I'enth, painted by Raphael and Julio Romano, will be convinced of the great use and merit of an art, to which is owing the great number of originals now abounding in every country. By originals, we mean pictures deemed such by our ingenious and honest dealers, to adorn the cabinets of the virtuoso and connoisseurs. It is surprising that, since the age of the great masters, we have not had a man able to make a fine copy from any one of their pictures ; and, we believe, if such a genius should hereafter arise, it is to be feared the destroyers of the art, if they are suffered to go on, will scour off the remains of their beauties, so that very little will be left for him to study ; and, by the end of this century, there will be none fit for copying. It is in vain for a man to think of making a fine imitation of any of the great masters, without being C3 18 THE ART OF PAINTING IN OIL. thoroughly acquainted with the nature of the colours and of colouring, and without being clearly con- vinced, at sight of the picture he is going to copy, of the method and principles on which it was painted. It is the want of this knowledge and conviction which leads us into so many errors and mistakes, A painter that has acquired any sort of manner will always tincture his copying with the same. 'Now, we are apt to fall into a manner before we understand the nature of colours ; which is the case where some predominant colour or hue appears in all the complexions alike. From this reason, a painter, whose carnations are too red, will certainly' make his copies blush ; or, if his colouring and shadows be heavy, they will of course fall into the obscuro. By the same rule, whatever teints infect his colouring, the same will unavoidably taint his copying; for which there is no cure, because he himself is in- fected. It is very rare to find a change in a bad manner in colouring for a better. Raphael, Michael Angelo, Leonardo da Vinci, Julio Romano, and other great masters, spent their whole lives without truly under- standing good colouring. And, though colouring is the principal excellence in copying, yet it is neces- sary that every artist should avoid a particular man- ner with his pencil, otherwise it will certainly be seen in his work. From what has been said on this subject, we appre- hend it appears that the art of copying, which was practised by the great masters, in order to catch eacl^ other’s excellencies and perfections, and by which their noble works have been so often repeated, and, as it were, renewed, is so far from deserving con- tempt, that it ought to be encouraged, as a practice highly useful and worthy of esteem. THE ART OF PAINTING IN OIL. W OF PAINTING DRAPERIES. In order to understand the nature and different degrees of colours or teints used in painting drape- riesj we shall first determine how many divisions are absolutely necessary to make the first lay of colours; and, after that, the reflections and finishing teints. The right method of painting draperies, or satins, in general, is to make out the whole, or what we call the first lay, with three colours only*, viz. — the lights, middle teints, and shade teint. We should observe, that the lights should rather incline to a warmish hue ; and the middle teint should be made of friendly-working colours, such as will alwaj^s mix of a clean, tender, coldish hue. The shade teint should be made of the same colour as the middle teint, only with less light; therefore this teint will also mix of a tender clean colour. It is with these three colours we should make out the whole, like metzotinto; and we should understand, that all the heauty and character of the folds, the shape, atti- tude, and principal lights and shades, are all to be considered, and made with these three colours only ; which should be done to our satisfaction, before we add any of the reflects, or finishing teints. The reflections of draperies and satins are generally productions of their own, and are always lighter than the shadows on which they are found : and, being produced by light, will consequently liave a light warm colour, mixed with the local colour that re- ceives them. Here it will be necessary to observe the general method and secret in managing the co- lours of the first lay, and those of the reflections and finishing teints. In the first lay, the high lights should be laid with a plenty of stiff colours, and then shaped and softened into character with the middle teint very correctly. 20 THE ART OF PAINTING IN OIL. Where the gradations of the lights are slow, as in the large parts, it will be proper to lay the middle teint first at their extremities, with a tool th_at will drive the colour, and leave it sparingly; because the lights will mix and lie the better upon it. Next is to make out all the parts of the shadows with the shade teint drove bare. After this comes the middle teint, which fills up and serves as the second lights and grada- tions, and should be managed together very nicely to character, without touching any of the high lights, which finish the first lay. The reflects and finishing teints are, in general, the antipathies of the first lay ; they will, without great care, poison and dirty the colours on which they are laid, and therefore should be laid with a delicate light touch, without softening. If it be overdone, we must endeavour to recover it with the colour of the part on which it was laid ; this may be done directly, or when it is dry. We should also observe, whether the reflects proceed from the same colour, or any other, that the method of using them is the same. Before I proceed to the particular colours, it will be proper to make some observations on their grounds. It often happens that the colour of the cloth is very improper for the ground of the drapery; and, when it is so, we should change it with those colours which we think are most proper to improve and support the finishing colours. This method of dead- colouring must consequently preserve them in the greatest lus- tre. In dead-colouring, we should lay the lights and shades in a manner so as only to shew a faint idea of them, with regard to the shape and round- ings of the figure. If we have a design to work from, then it will be proper to make all the large and prin- cipal parts in their places; which should always be done with a colour that is clean, and higher than the intended drapery, though in general of the same hue ; and let the shadows be no darker than a middle teint ; i These should be mixed and broke in a tender manner, THE ART OF PAINTING IN OIL, 21 and then softened with a large tool, so that nothing rongh and uneven be left to interrupt or hurt the character of the finishing colours. WHITE SATIN, All whites should be painted on white grounds, laid with a good body of colour, by reason this colour sinks more into the ground than any other. There are four degrees of colours in the first lay to white satin : The first is the fine white for the lights ; the second is the first teint, which is made of fine white and a little ivory-black, mixed to an exact middle degree, between the white and middle teint. This colour follows the white; and it is with this we should shape the lights into character before we lay on any other, and take care that this first teint ap- pears distinctly between the white and the middle teint, otherwise the beauty and character of the satin will be spoiled. The middle teint should be made of white, black, and a little Indian-red ; These three colours are very friendly, and mix to a beautiful clear colour of a pearly hue, which has the true brightness and warmth of the general hue of the satin. Remember to allow for the red hue changing a little to the lead. If there fs occasion to make any part in the middle teint lighter, we should do it with the first teint only. This colour should also be laid sparingly before the white, in all the little lights that happen in the mid- dle teints and shadows ; on which we should lay the white with one light touch, and be sure not to cover all the parts that were made with the first teint ; if we do, it will spoil the character, and look like a spot, from want of the softening edge or border, which must be between the white and the middle teint. The shade teint should be made of the same colour as the middle teint, but with less white, so that it be dark enough for the shadows in general ; ^2 THE ART OF PAINTING IN OIL. with which we should make out all the parts of the shadows nicely to character, which is the work of the first lay. Next follow the reflects and finishing teints : — Brown ochre, mixed with the colour of the lights, is the most useful colour in general for all reflects in draperies, that are produced from their own co- lours. All accidental reflexes are made with the colour of the parts from which they are produced, and the local colours that receive them. There are but two reflecting-teints wanted for draperies in ge- neral : I mean, to any one particular colour; one should be lighter than the middle teint, the other darker. These colours may be a little changed on the pallet with the first and middle teints, as occasion requires, or lightly broken on the part that receives them ; but this last method is not so sJife as the other. The teint sufficient for blending the dark shadows to the mellow tender hue, is made with the shade teint and a little brown ochre, which should be laid on very sparingly, with soft light touches, from fear of making them dull and heavy ; if it should be over- done, we may recover it with the colour it was laid upon. We often see a little blue used in the first teint of white satin. Van Haecken, who w'as the best dra- pery painter we ever had in England, did so ; and sometimes, instead of the blue, he used blue-black, till he found it to be a pernicious colour, and was therefore obliged to use blue, because his middle teint, w hich was only of black and white, was so very cold, that no other colour but blue would make a colder teint ; yet he managed these cold colours, in all the lights and middle teints, so agreeably, and so light and easy was his touch, that we cannot help admiring, and may learn something from him. Though he w as not so lucky in his shadows, which w ere ge- nerally of a heavy dirty hue, this was Owing to the colours he used, and the method of using them ; which will always have such an effect when a warm or dirty THE ART OF PAINTING IN OIL. 23 colour is mixed with a clean light one ; for, being mixed together, they will form a dirty colour, that must consequently appear so in the work : But, if his lead or shade teint had been mixed with Indian- red, instead of the ochre, and then followed with a few light blending touches of the ochre teint, it would have left them clean and mellow. It is the want of the red hue which makes the white satins appear so often like pewter. BLUE SATINS. The colour for blue satin is made of Prussian blue and fine white. The best ground for blue is, white for the lights and black and white for the shadows. ° The first lay of colours for blue is divided into three degrees or teints. We should first make the middle teint of a beautiful azure; then mix the colour for the lights about a middle degree between that and vvhite. Make the shade teint dark enough for the shadows in general. All the broad lights should be laid with a plenty of colour, and shaped to character with the middle teint, before we lay on any other colours. Remember the less colours are mixed, the better they will appear and stand ; for the lights of bl^ue should be managed with as much care as those of white satin. Next is to follow with the rest of die middle teint, and then make out all the shadows. I he more we drive the shade teint, the better it will receive the reflects and finishing teints. The sha- dows should be strengthened and blended with ivory- black and some of their own colour, which will mix with them into a tender mellow hue. The reflects are made as those of white satin, that IS, with ochre and some of the lights, which should be perfectly done, as we intend it, at one painting. Ihe shadows, when dry, may be a little improved, I there is occasion to alter them, with the colours 24 THE ART OF PAINTING IN OIL. they are made with. The Prussian blue proper to be used is that which looks of the most beautiful azure before it is ground ; and the sooner it is used, after it is ground, the better it will work and appear. Velvet may be painted at once. The method is, to make out the first lay with the middle teint and shade teint : on which we should lay the high lights, with light touches, and finish the shadows as we did those of the satin. But the nearest imitation of velvet we can make is done by glazing: which is, to pre- pare a ground, or dead-colouring, with such colours as will, when dry, bear out and support the glazing colour, in its highest perfection. The nature ot the glazing colour is to be of a fine transparent quality, and used simply with oil only, so that, whatever ground it is laid on, the whole may appear distinctly through it. The best ground for blue is made with white and ivory-black ; the white is for the high lights, which, with the middle teint and shade teint, makes out the first lay like metzotinto. llemember to make the middle teint lighter in proportion to the glazing, be- cause that will make it the darker. It is often ne- cessary to cover all but the high lights, with a thin glazing ; we do not mean with a plenty of oil in the colour, but laid with less quantity than if it were to be done once only. If any of it touch the lights, we should wipe it off with a clean rag. The very high lights should be improved, and made of a fine white, and left to dry. The glazing colour is Prussian blue, ground very fine with nut-oil ; and should be laid with a large stiflish tool, that will drive the colour as occasion requires. It is on the last glazing w e should strengthen and finish the shadows. The greatest fault in the colouring of duperies is, the painting the shadows wdth strong glaring colours, which destroy the beauty of the lights. This is not only the reverse of art, but ot nature, whose beauty always diminishes in proportion with the lights. From this reason, we should take care to blend and soften the shadows with such friendly colours as will THE ART OF PAINTING IN OIL. 25 agree with their local character and obscurity. Here we may observe, that glazing the middle teint, which is made of black and white, will not produce a colour so blue as if it had been prepared with Prussian and white ; yet this colour will preserve the beauty of the lights in the highest perfection, by reason of its tender obscure hue, when the blueness of the other would only diminish them. This method of glazing the blue is the general rule for all glazing. When we are glazing blue, the lights may be glazed with ultramarine, though all the other parts are done with Prussian blue. This method saves a great quantity of that valuable colour, and answers our purpose as w ell as if it had been done with ultra- marine. Though this general method of painting satins is to make the first lay of colours with three degrees or teiiits, yet we should understand, in using them, that they produce two more ; for the mixing of two dif- ferent colours together on the cloth will make another of a middle teint between them ; so it is with the lights and middle teints, and with the middle teint and shade teint ; the first answers to the first teint in white satin, and the last will consequently be a sort of gradating, or half-shade. If the lights and middle teint mix to a beautiful clean colour, of a middle hue between both, there will be no occasion for a colour to go between them, as in blue satin. But if, in mixing, they produce a teint inclined to a dirty warm hue, then there must be another found of a sympathizing nature, which should be laid between them, in order to preserve the beauty of the lights, as the first teint in the white satin; for if it were not so, the red, in the middle teint, would certainly dirty and spoil the white. It is highly necessary to understand these prin- ciples of the first lay of colours, in order to have a perfect knowledge of the general rule of colouring, on which the principles of painting depend. D 26 THE ART OF PAINTING IN OIL. SCARLET AND CRIMSON. A LIGHT yellow red, made of light ochre, light red, and white, is the proper ground for scarlet : the shadows are Indian-red, and, in the darkest parts, mixed with a very little black. The second painting should be a little lighter than we intend the finishing colour ; we mean, in propor- tion to the glazing, which will make it darker. The high lights are vermilion and white, for satin and velvet; and vermilion for cloth. The middle teint is vermilion, with a very little lake or Indian- red ; the shade teint is made with Indian-red and lake, with the addition of a little black in the darkest shadows. The difference between scarlet and crim- son is, that the high lights of crimson are whiter, and the middle teint is made darker. Their reflects are made with light red and vermilion. The high lights should be laid and managed in the same man- ner as those of the blue, from fear of dirtying them ; and sometimes they require to be touched over the second time before we glaze them. The more the colours of the second painting are drove, the easier and better they may be managed to character; but the high lights should have a good body of colour, and be left with the delicate light touch. After it is well dry, we should finish with glazing the whole with fine lake, and improve the reflects and shadows. Remember that the scarlet requires but a very thin glazing : and it is better to glaze the crimson twice over, than lay too much at one painting. PINK COLOUR. There are two different methods of painting a pink colour ; one is by glazing, the other is done with a body of colours at one painting. The same grounds do for both, which should be a whitish colour, in- 27 THE ART OF PAINTING IN OIL. dining to a yellow, for the lights ; and Indian-red, lake, and white, for the shadows. The second painting, for the glazing method, is done with the same colours, and a little vermilion and white for the high lights. When it is dry, glaze it with fine lake, and then break and soften the co- lours into harmony directly. The other method is to make the high lights with carmine and white ; the middle teint with lake, white, and a little carmine ; and the shadows with lake and Indian-red, with a little vermilion for the reflections. But remember, the shadows will require to be broken with some tender obscure teint, YELLOW. The ground for yellow should be a yellowish white for the lights, and a mixture of the ochres for the shadows. There are the same number of teints in the yellows as there are in the white satin, and the method of using them is the very same : the lights are made with king’s yellow, ground with clean good_ drying- oil : the first teint is light ochre, changed with a little of the pearl teint, made with the dark shade and white, which should be laid and managed as the first teint in white satin : the middle teint is a mixture of the light and brown ochre, softened with the pearl teint ; the shade teint is made with brown pink and brown ochre : these belong to the first lay. The reflects are light ochre ; and sometimes, in the warmest parts, mixed with a little light red. The shadows are strengthened with brown pink and burnt umber. These colours, well-managed, will produce a yel- low, very like Van Dyck’s; but, if we leave out the king’s yellow, which is for the high lights only, then it will be one of Sir Peter Lely’s favourite yellows. 28 THE ART OF PAINTING IN OIL, GREENS. The proper grounds for green is a light yellow green, which is made of light ochre, a little white, and Prussian blue, for the lights ; and the ochre, brown pink, and Prussian, for the shadows. The finest green we have for draperies is made of king’s yellow, Prussian blue, and brown pink. The high lights are king’s yellow, and a very little Prus- sian ; the middle teint should have more Prussian ; and the shadow teints are made with some of the middle teint, brown pink, and more Prussian : but the darkest shadows are brown pink and a little Prussian. The lights and middle teints should be managed in the same manner as those of the blues. The shadow teint should be kept entirely from the lights, because the brown pink that is in it will, in mixing, dirty them, as the black does those of the blues. Remember to allow for their drying a little darker ; and that the king’s yellow must be ground with good drying-oil ; for the longer it is drying, the more it will change and grow darker ; and the sooner it is used, the better it will stand. It is proper to have two sorts of king’s yellow ; I mean, one to be very light, which will do best for the high lights of velvet, should it be wanted. CHANGEABLE. Changeable colours are made with four principal teints, viz : — the high lights, middle teint, shade teint, and reflecting teint. The greatest art lies in finding the exact colour of the middle teint, because it has more of the general hue of the silk than any of the others. The shade teint is of the same hue with the middle teint, though ti is dark enough for the shadows. The high lights, THE ART OF PAINTING IN OIL. 29 though often very different from the middle teint, should be of a clean friendly- working colour that will, in mixing with it, produce a teint of a clean sympathizing hue. The method of painting silks is, to make out the folds with the shade teint, and then fill them up in the lights with the middle teint. This is what we call the first lay, which should he done to our satis- faction before we add any other colours : and the stifier the middle teint is used, the better the high lights may be laid upon it. The reflecting teint falls generally upon the gradating half-shades, and should be laid with tender touches sparingly, from fear of spoiling the first lay. This method of painting answers for all the co- loured silks, as well as changeable, with this differ- ence only, that the plain colours require not so much art in matching the teints, as the changeable do. The last part of the work is the finishing and strengthening the shadows with an obscure teint, a little inclining to a rnellowish hue ; such as will not catch the eye, and interrupt the Ijeauty of the lights. BLACK. The best ground for black is, light red for the lights, and Indian-red and a little black for the shadows. The finishing colours are, for the lights, black, white, and a little lake. The middle teint has less white, and more lake and black ; the shade teint is made of an equal quantity of lake and brown pink, with a very little black. The method of painting black is very different from that of other colours ; for the principal thing in them is, to leave their lights clear and brilliant ; so, in black, it is, to keep the shadows clear and transparent. Therefore we should begin with the D 3 30 THE ART OF PAINTING IN OIL. shade teint, and glaze over all the shadows with it. Next lay in the darkest shadows with black, and a little of the shade teint, very correctly. After that, fill np the whole breadth of lights with the middle teint only. All which should be done exactly to the character of the satin, velvet, cloth, &c. or common white. 3. Fine light ochre. 4. Brown ochre. 5. Brown pink. 6. Burnt umber. 7. Ivory-black. 8. Prussian blue. 9. Ultramarine. 10. Terre verte. 11. Lake. 12. Indian-red. 13. Vermilion, or native cinnabar. 14. King’s yellow. The principal teints used in landscapes are — 1. Light ochre and white. 2. Light ochre, Prussian blue, and white. 3. Light ochre and Prussian blue. 4. The same, darker. 5. Terre verte and Prussian blue. 6. Brown pink and Prussian blue. 7. Brown pink and brown ochre. 8. Brown pink, ochre, and Prussian blue. 9. Indian-red and white. 10. Ivory-black, Indian-red, and lake. Tlie colours necessary for dead-colouring are, com- . mon white, light ochre, brown ochre, burnt umber, Indian-red, ivory- black, and Prussian blue. THE ART OF PAINTING IN OIL. 83 The principal colours and teints for painting the sky are, fine white, ultramarine, Prussian blue, light ochre, vermilion, lake, and Indian-red. The teints are, a fine azure, lighter azure, light ochre and white, vermilion and white, and a teint made of white, a little vermilion, and some of the light azure, at discretion. Landscapes should be painted on a sort of tanned leather-coloured canvas, which is prepared with brown ochre, white, and light red. This colour gives a warmth to the shadow-colours, and is very agreeable and proper for glazing. But canvas and stretching-frames are to be purchased ready-pre- pared, in several difierent ways, according to the modern practice, at the colour-shops in Long Acre, St. Martin’s Lane, High Holborn, &c.; also every other material used in this delightful study. Sketching, or rubbing-in the design, is the work of the picture. This should be done with burnt umber, drove with drying oil, and a little oil of turpentine, in a faint, slight, scumbling, free manner, as we shade with Indian-ink and water: leaving the colour of the cloth for the lights, as we do that of the paper. Pemember, in doing it, to leave no part of the sha- dows so dark as you intended the first lay, or dead- colouring, which is to be lighter than tke finishing colours. And, though the foliage of the trees is only rubbed in with a faint sort of scumbling, yet the trunks and bodies should be in their proper shapes, with their breadths of light and shadow. All kind of buildings should be done in the same manner, leaving the colour of the cloth for their lights. The figures on the fore-ground, if they are determined, should also be sketched in the same manner, and then left to dry. 34 THE ART OF PAINTING IN OIL. OF DEAD-COLOURING. Let the first lay, or dead-colouring, be without any bright glaring, or strong dark colours ; so that the effect is made more to receive and preserve the finishing colours, than to shew them in their first painting. The sky should be done first, then all the distances ; and so work downwards to the middle group, and from that to the fore-ground and nearest parts. Remember that all the parts of each group, as trees^ buildings, or the like, be all painted with the group they belong to. The greatest secret in dead-colouring is, to find the two colours which serve for the ground of sha- dows in general, the sky excepted ; and the method of using them with the lights ; the first of which is the dark shade with a little lake in it ; the other co- lour is only burnt umber : these should be a little changed to the natural hue of the objects, and then laid and drove with drying oil, in the same manner as we shade with Indian-ink, which is a scumbling kind of glazing ; and as such they should be left, for otherwise they will be dark and heavy, and therefore would be entirely spoiled for the finishing glazing. Both these colours mix and sympathize agreeably with all the lights, but should be laid before them. When the landscape is designed, begin with the sky, which should be laid with a good body of co- lours, and left with a faint resemblance of the prin- cipal clouds : and this we should do more in the manner of claro obscuro, than with finishing colours : the whiter it is left, the better it will bear out and support them : the distances should be made out faint and obscurely, with the dark shades, and some of their lights, in different degrees, and laid so as best to find and show their principal parts. As we come more into the middle group, we fall by degrees THE ART OF PAINTING IN OIL. 35 into the burnt umber in the shades. All the ground of the trees should be laid or rubbed in, enough only to leave an idea of their shapes and shadows faintly. The ground of their shadows must be clean, and lighter than their finishing colours, such as will sup- port the character, and seem easy to finish on. In painting the lights, it is better to incline more to the middle teint than to the very high lights ; and observe to leave them with a sufficient body of clean colours, which will preserve the finishing colours better; all which may be done with a few teints. After this, go over the whole with a sweetener very lightly, which will soften and mix the colours agree- ably for finishing. SECOND PAINTING. Begin with the sky, and lay in all the azure and colours of the horizon : then soften them ; after that lay in the general teint of the clouds, and finish on it with the high lights, and the other teints that are wanting, with light tender touches ; then soften the whole with a sweetener, very lightly. Remember that all the finishing of the sky should be done at once painting, because the tender character of the clouds will not admit so fine a touch as when the whole is wet. Observe that the stiffer the azure and colours of the horizon are laid, the better the clouds may be painted upon them. The greatest distances are chiefly made with the colour of the sky; and, as they grow nearer and darker, e should glaze and scumble the parts very thin, with such glazing shadow-colours as come nearest to the general hue of the group the objects are in : this glazing should be understood of a darkish hue ; and that the first painting, or dead-colour, should be seen through it distinctly. On this lay, or ground, we should add the finishing colours. 36 THE ART OF PAINTING IN OIL. Now, supposing that this glazed ground is properly adapted to the object or place, we think that it will then be easy to find the other colours, which are wanted for the lights and finishings of the same ; but, in laying them, care must be taken that we do not spoil the glazing ; therefore we should be very exact in making those colours on the pallet, and then be sure to lay them with light free touches. Before we proceed farther, it will be proper to say something of the most useful glazing colours. Lake, terre verte, Prussian blue, and brown pink, are the four principal. The more we manage them like Indian-ink, and the more distinctly we leave them, the better their transparent beauty will stand and appear, provided we do it with good drying oil. After these four glazing colours, burnt umber is a very good glazing warm brown, and of great use in the broken grounds and nearest parts ; but the most agreeable colours for the darkest shadows, is the dark shade improved with lake ; it is a fine warm shade, when it is drove with drying oil ; no colour in the world is so sweet and sympathising : it mixes harmoniously with the lights as well as the shadows ; and is a charming colour in the trunks and bodies of trees, and in all kinds of buildings. We should make out all the ground of the objects with such glazing shadow-colours as seem nearest to the natural hue of the object in that situation ; but, as the principal glazing colours themselves are often too strong and glaring, they should be a little changed, and softened with such colours as are of a near re- semblance to themselves and^the objects : thus, if it be in the distances, the terre verte and azure, which are the principal glazing colours, may be improved and made lighter with some of the sky teints ; and, as the distances come nearer;, with the purple. As we get more into the middle group, the terre^ verte and Prussian blue may be changed with some of the green teints ; such as are made without white, for white is the destruction of all glazing colours. As THE ART OP PAINTING IN OIL. 37 we approach the first group, there is less occasion for changing them ; but the fore-ground and its ob* jects require all the strength and force of glazing which the colours are capable of producing. After this glazing ground, we should follow witli strengthening the same in the shadows and darkest places, in such manner as will seem easy to finish ; which is the first lay of the second painting. The colours that come next for finishing are in the degree of middle teints : these should be carefully laid over the greatest breadth of lights, in such man- ner as not to spoil and cover too much of the glazing. Do it with a good body of colour, as stiff as the pencil can agreeably manage to character. Remem- ber that the colours of the middle teint should be of a clean beautiful hue. According to these methods, 1 think it will be easy to finish all the second paint- ing as we work down from the sky, through the middle group. As we come to the first group, where all the objects should be perfectly finished, we should finish their under or most distant parts before we paint any of the other which appear nearer. Observe this method down to the last and nearest objects of the picture : and where it so happens that painting one tree over another does not please, for- bear the second until the first is dry. Thin near trees, of different colours, will do better, if we let the under-parts dry before we add the finishing co- lours. THE THIRD AND LAST PAINTING. If oiling be necessary, lay the least quantity that can be ; which should be done with a stump-tool, or pencil, proportioned to the place that is to be oiled, so that we may oil no more than what is wanted ; then wipe the whole place that is oiled with a piece 38 THE ART OF PAINTING IN OIL* of silk handkerchief. By this method, we leave no more oil than is proper for our purpose. When we are going to finish any objects, we should remember to use a great variety of teints, very nearly of the same colour; but most of all, when we are finishing trees ; this gives a richness to the colouring, and produces harmony. We have found, by experience, that the greens will fade and grow darker ; therefore it is highly necessary to improve and force them by exaggerating the lights, and making an allowance in using them so much the lighter. For the same reason, we should take great care that we do not overcharge and spoil the beauty of the glazing ; for, if we do, it will be dull and heavy, and therefore will consequently grow darker. The method of painting near trees is, to make the first lay very near to nature, though not quite so dark, but more in the degree of a middle teint, and follow it with strengthening the shadows ; then the middle teints : and, last of all, lay the high lights and finishing colours. But all this cannot be done as it should be at once painting; therefore, the best w^ay is, to do no more than the first lay w ith the faint shadows, and leave it to dry. Then begin with improving the middle teint and shadow, and let them dry. The third and last work is adding all the lights and finishing colours in the best manner we are able. This method of leaving the first and second parts to dry separately, not only makes the whole much easier, and more agreeable, but leaves the colours in the greatest perfection; because most of the work may be done with scumbling and glazing, and some parts without oiling. The lights, also, may be laid with a better body of colour, which will not be mixed and spoiled with the wet ground. What we have said of trees, applies equally to all kinds of shrubs and bushes. The figures in the landscape are the last work of the picture ; those in the fore-ground should be done THE ART OF PAINTING IN OIL. 39 first, and those in the distances should be done next; for, after the figures in tlie first and farthest group are painted, we think it will be much easier to find the proportions of those in the middle parts of the picture. And it should be observed, that the sha- dows of the figures should be of the same hue, or colour, with those of the group or place they are in. RECIPES. To prevent Pictures from Cracking. If vaniished with mastich-varnish, put five or six drops of drying oil, or of burnt linseed-oil, into the varnish, and it will efl’ectually prevent it. A METHOD of preventing lake from coagulating, or growing fat, (as it is termed by the painters,) is, hy grinding with it a little dryer or white coppei’as, before it is put into the bladder. This discovery has been communicated to the author by J. Garrard, jun. Esq. animal-painter. To make AF. Guelp. Put one-third best boiled oil to two-thirds mastich-varnish, stir it till it comes to the consistency of a jelly ; let it stand a few days, and it will be fit for use. This will be found, from ex- perience, a most useful composition for painters in general, as it not ordy makes a beautiful clear varnish for oil pictures, dries quickly in a warm room, and also will mix with any colour to paint with ; and another advantage, it will never crack, as many othei' varnishes do. For a fine new Dark Green for Trees y For e-G rounds y ^’c. One-third Antwerp blue, two-thirds brown pink, and a very small quantity of vermilion j any of the ochres and yellows for the lights, will give a brilliant effect. For a very bright Green. Antwerp blue and yellow lake, with a small quantity of Naples yellow. For a middling Green. • Brown ochre and Antwerp blue. For a fine warm Flesh Colour y As you will observe in Rubens’ pictures, light red and lake, over the ground colour. THE END. Piiated by Weed and Rider, Little Britain, Loudon. DRAWING-BOOKS, &c. Published by R. H. LAURIE. 1. The TRIUMPH of PAINTING, from the most eminent painters and draughtsmen, 6d, 2. SANDY’S ETCHINGS of LANDSCAPES and Figures, on 29 folio plates, which are very useful studies for those who would draw landscape with taste and effect, 10^. 6d. 3. The ARTIST’S VADE-MECUM, or whole Art of Drawing, elegantly engraved, 7s. 6d. 4. The DRAUGHTMAN’s ASSISTANT, or Drawing made easy, 7^. 6d. 5. A NEW DRAWING-BOOK, containing a variety of De. signs, from Ibbetson, Chamberlin, Angelica Kauffman, ike. See. Folio, 7s. Gd. 6. M. Le BRUN’s PASSIONS of the Soul, a very fine edition, on 20 folio plates, with explanation of each, bs. 7. A TREATISE on ANATOMY, adapted to the Arts of De- signing, Painting, and Sculpture. By J. Tinney, on 10 folio plates, with letter-press explanation, bs. ( Used by Students at the Royal Academy.) 8. 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