File:A treatise on painting - In four parts The whole illustrated by examples from the Italian, Venetian, Flemish, and Dutch schools (1837) (14784401975).jpg

Identifier: treatiseonpainti00burn (find matches)
Title: A treatise on painting : In four parts ... The whole illustrated by examples from the Italian, Venetian, Flemish, and Dutch schools
Year: 1837 (1830s)
Authors: Burnet, John, 1784-1868
Subjects: Painting
Publisher: London : James Carpenter
Contributing Library: Getty Research Institute
Digitizing Sponsor: Getty Research Institute

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e red cap of Joseph of Arimathea, and bythe blood on the hand and arm of Christ, &c. The Mother is dressed indark blue, repeated by the garment of the figure stretching over the cross.The dress of Joseph, the hair of the Magdalen, the hair and dress of theother Mary, and the light at the horizon, are of a yellow colour. Thedress of the Magdalen is of a strong green. The figure descending theladder is of a purple and brown. We may here notice the union of theblue and yellow, in producing a green, as in the Entombment, byTitian; the bringing of this colour next to a red; and the presence of apurple, arising from the union of a blue and red. PLATE VI. Represents the Rape of the Sabines, by Rubens. As this workembraces many of the peculiarities of that arrangement of colour whichafterwards was diffused through the Flemish and Dutch schools, I shallparticularize the different colours of which it is composed, with thesituation in which they are placed. The sky is composed of pale yellow
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ON COLOUR IN PAINTING. 47 and blue; the buildings, of a gray, are united to the figures by a smallportion being of a faint red; the light is spread over the female group bydelicate colours, viz. gray, light flesh tints, and faint yellow; then pink andblue, falling into dull yellow, black, red, and dark blue. The foregroundgroup commences with dark and light purple, red, black, yellow; thengreen (with a little red above); then brown and blue; a red, of a dulltone, carried up to the figure on the throne, which is surrounded by dullyellow. The buildings in shadow are gray; the drapery at the top, of apurple. We find in this composition the strong colour surrounding thelight, or placed where the one group unites with the other. With Rubensthis is generally the case, as it prevents the light subsiding too gently,and enables him to keep up his splendour and force. He has given astrong red to clear up the shadow of the female group, and placed a darkblue in the warm side of his composition,

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