Identifier: theorypracticeof00barn (find matches)
Title: The theory and practice of landscape painting in water-colours. Illustrated by a series of twenty-six drawings and diagrams in colours, and numerous woodcuts
Year: 1871 (1870s)
Authors: Barnard, George, 1807-1890
Subjects: Landscape painting Watercolor painting
Publisher: London : George Routledge & Sons
Contributing Library: Getty Research Institute
Digitizing Sponsor: Getty Research Institute

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extensive and so important, thatit is here necessary to consider some, of them more carefully, although theyhave been mentioned in the Section on Light and Shade. The most im-portant point is, the effect this juxtaposition has on the apparent strength ofthe tone, more especially at the point of contact. When we examine severalnarrow shadows of different degrees of intensity, but which we are awareare each quite flat, or take several strips of paper of the same neutral gray,but of different depth of colour, and place them side by side, the middle ofeach shadow or strip will not be altered, but the edge next the lighter tintwill appear darker, and that in contact with the darker tint lighter; thusproducing an effect of concavity in each, while the whole will resemble afluted column, with the light more on one side than the other. If so greata modification takes place in flat shadows, or in neutral gray tones, howgreat must be the alteration in the appearance or relative value of colours
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CONTRASTS OF COLOUR. 263 with the additional effect of the complementary colours produced by theircontrast in juxtaposition! The next description of contrast claiming our attention is the successive:this refers to the complementary, or accidental, colours which appear whenthe eye has been fatigued by regarding colours in a strong light, and hasbeen spoken of in Chapter I. Section III. It should be clearly understoodthat these colours are not only visible to philosophers, or to those whoseeyes have been trained to ob- ^__J11!L^ with their complementaries. Inthis circle (Fig. 1) the three primitives are separated by the secondaries,which they form by mixture, or by being placed over each other : thus thecomplementary of red will be green, that of blue orange, and that of yellowviolet or purple. If the primitive colours pass into the secondaries by gra-dations, their complementary colours will be subject to as many modifica-tions as there are in the original colours. To render this balan

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