Works of Johann Wolfgang von Goethe
Page 321
868
Although from the nature of the organ sight, we cannot see distant objects so distinct as nearer ones, yet aerial perspective is ground strictly on the important fact that all mediums called transparent are in some degree dim.
869
The atmosphere is thus always, more or less semi-transparent. This quality is remarkable in southern climates, even when the barometer is high, the weather dry, and the sky cloudless for a very pronounced gradation is observable between objects but little removed from each other.
870
The appearance on a large scale is known every one; the painter, however, sees or believes he sees, the gradation in the slight varieties of distance. He exemplifies it practically by making a distinction, for instance, the features of a face according to their relative position as regards the plane of the picture. The direction of the light is attended to in lit manner. This is considered to produce a gradation from side to side, while keeping has reference to depth, to the comparative distinctness of near and distant things.
Main contents table link
Colouring.
871
In proceeding to consider this subject, we assume that the painter is generally acquainted with our sketch of the theory of colours, and that he has made himself well acquainted with certain chapters and rubrics which especially concern him. He will thus be enabled to make use of theory as well as practice in recognising the principles of effect in nature, and in employing the means of art.
Main contents table link
Colour in General Nature.
872
The first indication of colour announces itself in nature together with the gradations of aerial perspective; for aerial perspective is intimately connected with the doctrine of semi-transparent mediums. We see the sky, distant objects and even comparatively near shadows, blue. At the same moment, the illuminating and illuminated objects appear yellow, gradually deepening to red. In many cases the physiological suggestion of contrasts comes into the account, and an entirely colourless landscape, by means of these assisting and counteracting tendencies, appears to our eyes completely coloured.
Main contents table link
Colour of Particular Objects.
873
Local colours are composed of the general elementary colours; but these are determined or specified according to the properties of substances and surfaces on which they appear: this specification is infinite.
874
Thus, there is at once a great difference between silk and wool similarly dyed. Every kind of preparation and texture produces corresponding modifications. Roughness, smoothness, polish, all are to be considered.
875
It is therefore one of the pernicious prejudice of art that the skilful painter must never attend to the material of draperies, but always represent, as it were, only abstract folds. Is not a characteristic variety thus done away with, an is the portrait of Leo X. less excellent because velvet, satin, and moreen, are imitated in the relative effect?
876
In the productions of nature, colours appear more or less modified, specified, even indivdualised: this may be readily observed in minerals and plants, in the feathers of birds and the skins of beasts.
877
The chief art of the painter is always to imitate the actual appearance of the definite hue, doing away with the recollection of the elementary ingredients of colour. This difficulty is in no instance greater than in the imitation of the surface of the human figure.
878
The colour of flesh, as a whole, belongs to the active side, yet the bluish of the passive side mingles with it. The colour is altogether removed from the elementary state and neutralised by organisation.
879
To bring the colouring of general nature into harmony with the colouring of a given object, will perhaps be more attainable for the judicious artist after the consideration of what has been pointed out in the foregoing theory. For the most fancifully beautiful and varied appearances may still be made true to the principles of nature.
Main contents table link
Characteristic Colouring.
880
The combination of coloured objects, as well as the colour of their ground, should depend on considerations which the artist pre-establishes for himself. Here a reference to the effect c colours singly or combined, on the feelings, is especially necessary. On this account the painter should possess himself with the idea e the general dualism, as well as of particular contrasts, not forgetting what has been adverted to with regard to the qualities of colours.
881
The characteristic in colour may be comprehended under three leading rubrics, which we here define as the powerful, the soft, and the splendid.
882
The first is produced by the preponderance e the active side, the second by that of the passive side, and the third by completeness, by the exhibition of the whole chromatic scale in due balance.
883
The powerful impression is attained by yellow yellow-red, and red, which last colour is to be arrested on the plus side. But little violet am blue, still less green, are admissible. The soft effect is produced by blue, violet, and red, whit] in this case is arrested on the minus side; a moderate addition of yellow and yellow-red, but much green may be admitted.
884
If it is proposed to produce both these effects in their full significancy, the complemental colours may be excluded to a minimum, and only so much of them may be suffered to appear as is indispensable to convey an impression of completeness.
Main contents table link
Harmonious Colouring.
885
Although the two characteristic divisions as above defined may in some sense be also called harmonious, the harmonious effect, properly $o called, only takes place when all the colours are exhibited together in due balance.
886
In this way the splendid as well as the agreeable may be produced; both of these, however, have of necessity a certain generalised effect, and in this sense may be considered the reverse of the characteristic.
887
This is the reason why the colouring of most modern painters is without character, for, while they follow their general instinctive feeling only, the last result of such a tendency must be mere completeness; this, they more or less attain, but thus at the same time neglect the characteristic impression which the subject might demand.
888
But if the principles before alluded to are kept in view, it must be apparent that a distinct style of colour may be adopted on safe grounds for every subject. The application requires, it is true, infinite modifications, which can only succeed in the hands of genius.
Main contents table link
Genuine Tone.
889
If the word tone, or rather tune, is to be still borrowed in future from music, and applied to colouring, it might be used in a better sense than heretofore.
890
For it would not be unreasonable to compare a painting of powerful effect, with a piece of music in a sharp key; a painting of soft effect with a piece of music in a flat key, while other equivalents might be found for the modifications of these two leading modes.
Main contents table link
False Tone.
891
The word tone has been hitherto understood to mean a veil of a particular colour spread over the whole picture; it was generally yellow, for the painter instinctively pushed the effect towards the powerful side.
892
If we look at a picture through a yellow glass it will appear in this tone. It is worth while to make this experiment again and again, in order to observe what takes place in such an operation. It is a sort of artificial light, deepening, and at the same time darkening the plus side, and neutralising the minus side.
893
This spurious tone is produced instinctively through uncertainty as to the means of attaining a genuine
effect; so that instead of completeness, monotony is the result.
Main contents table link
Weak Colouring.
894
It is owing to the same uncertainty that the colours are sometimes so much broken as to have the effect of a grey camayeu, the handling being at the same time as delicate as possible.
895
The harmonious contrasts are often found to be very happily felt in such pictures, but without spirit, owing to a dread of the motley.
Main contents table link
The Motley.
896
A picture may easily become party-colored or motley, when the colours are placed next e other in their full force, as it were only mechanically and according to uncertain impression.
897
If, on the other hand, weak colours are combined biped, even although they may be dissonant, the effect, as a matter of course, is not striking. The uncertainty of the artist is communicated to the spectator, who, on his side, can neither praise nor censure.
898
It is also important to observe that the colours may be disposed rightly in themselves, but that a work may still appear motley, if they falsely arranged in relation to light and shade.
899
This may the more easily occur as light a shade are already defined in the drawing, a are, as it were, comprehended in it, while the colour still remains open to selection.
Main contents table link
Dread of Theory.
900.
A dread of, nay, a decided aversion for theoretical views respecting colour and everything belonging to it, has been hitherto found to exist among painters; a prejudice for which, after all, they were not to be blamed; for what has been hitherto called theory was groundless, vacillating, and akin to empiricism. We hope that our labours may tend to diminish this prejudice, and stimulate the artist practically to prove and embody the principles that have been explained.
Main contents table link
Ultimate Aim.
901
But without a comprehensive view of the whole of our theory, the ultimate object will not be attained. Let the artist penetrate himself with all that we have stated. It is only by means of harmonious relations in light and shade, in keeping, in true and characteristic colouring, that a picture can be considered complete, in the sense we have now learnt to attach to the term.
Main contents table link
Grounds.
902
It was the practice of the earlier artists to paint on light grounds. This ground consisted of gypsum, and was thickly spread on linen or panel, and then levigated. After the outline was drawn, the subject was washed in with a blackish or brownish colour. Pictures prepare in this manner for colouring are still in existence, by Leonardo da Vinci, and Fra Bartolomeo; there are also several by Guido. — Note II.
903
When the artist proceeded to colour, and had to represent white draperies, he sometimes suffered the ground to remain untouched. Titian did this latterly when he had attained the greatest certainty in practice, and could accomplish much with little labour. The whitish ground was left as a middle tint, the shadows painted in, and the high lights touched on. — Note KK.
904
In the process of colouring, the preparation merely washed as it were underneath, was always effective. A drapery, for example, was painted with a transparent colour, the white ground shone through it and gave the colon] life, so the parts previously prepared for shadows exhibited the colour subdued, without being mixed or sullied.
905.
This method had many advantages; for the painter had a light ground for the light portions of his work and a dark ground for the shadowed portions. The whole picture was prepared; the artist could work with thin colours in the shadows, and had always an internal light to give value to his tints. In our own time painting in water colours depends on the same principles.
906
Indeed a light ground is now generally employed in oil-painting, because middle tints are thus found to be more transparent, and are in some degree enlivened by a bright ground; the shadows, again, do not so easily become black.
907
It was the practice for a time to paint on dark grounds. Tintoret probably introduced them. Titian’s best pictures are not painted on a dark ground.
908.
The ground in question was red-brown, and when the subject was drawn upon it, the strongest shadows were laid in; the colours of the lights impacted very thickly in the bright parts, and scumbled towards the shadows, so that the dark ground appeared through the thin colour as a middle tint. Effect was attained in finishing by frequently going over the bright parts and touching on the high lights.
909
If this method especially recommended itself in practice on account of the rapidity it allowed of, yet it had pernicious consequences. The strong ground increased and became darker and the light colours losing their brightness degrees, gave the shadowed portions more and more preponderance. The middle tints became darker and darker, and the shadows at last quite obscure. The strongly impacted lights alone remained bright, and we now see only 1 spots on the painting. The pictures of Bolognese school, and of Caravaggio, of sufficient examples of these results.
910
We may here in conclusion observe, 1 glazing derives its effect from treating the prepared colour underneath as a light ground. By this operation colours may have the effect of being mixed to the eye, may be enhanced, may acquire what is called tone; but they thus necessarily become darker.
Main contents table link
Pigments.
911.
We receive these from the hands of the mist and the investigator of nature. Much been recorded respecting colouring substances, which is familiar to all by means of the press. But such directions require to be revised from time to time. The master meanwhile communicates his experience in these matters to his scholar, and artists generally to each other.
912
Those pigments which according to their nature are the most permanent, are naturally much sought after, but the mode of employing them also contributes much to the duration of a picture. The fewest possible colouring materials are to be employed, and the simplest methods of using them cannot be sufficiently recommended.
913
For from the multitude of pigments colouring has suffered much. Every pigment has its peculiar nature as regards its effect on the eye; besides this it has its peculiar quality, requiring a corresponding technical method in its application. The former circumstance is a reason why harmony is more difficult of attainment with many materials than with few, the latter, why chemical action and re-action may take place among the colouring substances.
914.
We may refer, besides, to some false tendencies which the artists suffer themselves to be led away with. Painters are always looking for new colouring substances, and believe when such a substance is discovered that they have made an advance in the art. They have a great curiosity to know the practical methods of the old masters, and lose much time in the search. Towards the end of the last century we were thus long tormented with wax-painting. Others turn their attention to the discovery of new methods, through which nothing new is accomplished; for, after all, it is the feeling of the artist only that informs every kind of technical process.
Main contents table link
Allegorical, Symbolical, Mystical Application of Colour.
915
It has been circumstantially shown above, that every colour produces a distinct impression on the mind, and thus addresses at once the eye and feelings. Hence it follows that colour may be employed for certain moral and aesthetic ends.
916
Such an application, coinciding entirely with nature, might be called symbolical, since the colour would be employed in conformity with its effect, and would at once express its meaning. If, for example, pure red were assumed to designate majesty, there can be no doubt that
this would be admitted to be a just and expressive symbol. All this has been already sufficiently entered into.
917
Another application is nearly allied to this; it might be called the allegorical application. In this there is more of accident and caprice, inasmuch as the meaning of the sign must be first communicated to us before we know what it is to signify; what idea, for instance, is attached to the green colour, which has been appropriated to hope?
918
That, lastly, colour may have a mystical allusion, may be readily surmised, for since every diagram in which the variety of colours may be represented points to those primordial relations which belong both to nature and the organ of vision, there can be no doubt that these may be made use of as a language, in cases where it is proposed to express similar primordial relations which do not present themselves to the senses in so powerful and varied a manner. The mathematician extols the value and applicability of the triangle; the triangle is revered by the mystic; much admits of being expressed in it by diagrams, and, among other things, the law of the phenomena of colours; in this case, indeed we presently arrive at the ancient mysterious hexagon.
919
When the distinction of yellow and blue is duly comprehended, and especially the augmentation into red, by means of which the opposite qualities tend towards each other and become united in a third; then, certainly, an especially mysterious interpretation will suggest itself, since a spiritual meaning may be connected with these facts; and when we find the two separate principles producing green on the one hand and red in their intenser state, we can hardly refrain from thinking in the first case on the earthly, in the last on the heavenly, generation of the Elohim. — Note LL.
920
But we shall do better not to expose ourselves, in conclusion, to the suspicion of enthusiasm; since, if our doctrine of colours finds favour, applications and allusions, allegorical, symbolical, and mystical, will not fail to be made, in conformity with the spirit of the age.