A Handbook For Painters And Art Students On The Character And Use Of Colours

This practical guide to painting and color theory is the perfect resource for artists of all levels. With detailed explanations of the characteristics and uses of different colors, as well as practical advice on painting techniques and mediums, this book is an essential addition to any artist's library. This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

The appearance of this book is timely, and the author's practical experience gives to it a high and peculiar value. Mr. Muckley has arranged his materials with care and tact, and thus afforded the student ready access to the fruits of his experience. Summaries of permanent, semi-permanent, and fugitive pigments are offered, and their utility is obvious. We notice among the permanent pigments is orange vermilion, the very colour which, in a highly commendatory letter acknowledging the dedication of the book to himself, is denounced by Mr. Poynter as not only dangerous, from the uncertainty attending the "preparation," but unnecessary, and destructive, moreover, of the purity and delicacy of the tints. Opinions may, and do, differ extremely as to the latter part of this assertion of the R.A.'s, but it is unfortunate that these doctors should differ in so important a point as the true character of a pigment which stands nearly at the top of the scale of brilliancy. Again, Indian red is admitted into the category of pigments which are permanent in oil or water. We fear the ghosts of Robson and Barret could tell Mr. Muckley a different tale, especially when they saw what happens to this colour in combination with Antwerp blue. The last pigment is included with those of the second order of permanence, but we should rather rank it in the third-that is, among the fugitive materials. We are glad to see that Strontian and Orient yellows are denounced. Pure linseed oil is recommended; but how are you to get it? We are told that Messrs. Mander Brothers, of Wolverhampton, have made arrangements to prepare pure copal and amber varnishes for painters' use. Let us see what the new Guild of Colour-makers, "Limited," will do for artists. -The Athenaeum, Volume 76 [1880]

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Excerpt from A Handbook for Painters and Art Students on the Character, Nature, and Use of Colours, Their Permanent, or Fugitive Qualities, and the Vehicles Proper to Employ: With an Appendix, Giving Permanent Hues and Tints; Also Short Remarks on the Practice of Painting in Oil and Water Colours The present Handbook is intended to supply, in a ready and conc18e form, what is required in this direction. The durability of a picture ought to be a matter of conscientious consideration with every painter. If he does not employ ordinary precaution in order to prevent, or modify those changes which may take place in his works, sooner or later, after they leave his hands, he is to a great extent responsible, if not indeed culpable. The purchasers of pictures rarely consider this question. It therefore becomes all the more impera tive on the painter's part, that he should thoroughly deal with it as a necessary part of his education and practice, or 111 Ignorance he may lay himself open to the charge Of supplying to his patron, that which he did not bargain for. It is frequently discovered that the work which has been so well paid for in many cases, is visibly deteriorating every year, and almost every day. Suggestions are Offered in this manual on various other matters connected with the practice Of art. They have grown out of many years' experience as a painter, as well as a long intercourse with students. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

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