OF BACKGROUNDS.
'One of the principal and most important parts of painting, is the nature and quality of backgrounds;' from which any round or solid body is to detach itself; and this may be so contrived that both may be of the same colour; 'because the convex sides of solid bodies do not receive the light in the same manner as the ground does, being lighter or darker than the ground.'
Different colours, or degrees of light in the background, can alone separate the object from it. They will become more detached as they differ from the colour of the object to be relieved.
The greatest relief is acquired by a ground of a neutral, or undetermined colour. But the object that is to stand out from it, depends wholly on its light and shade for relief.
According to the ground which surround colours, they will appear different to their natures. Flesh will look palest on a red ground: and a pale colour, redder on a yellow ground: and so on, always deriving their character from the surrounding one.
If any object in a composition does not sufficiently assert its place, instead of heightening the colour of it, it is generally more advisable, as the case may be, to subdue the power of its background.
The outlines of figures should be sketched with either the shadow-colour, or the colour of the ground, on which they are laid; strengthening them according to their situations.
A very useful resource, in painting, is often to look at your picture in a looking-glass, whose reflection is a copy of the picture; and the picture, being a copy from nature, a kind of analogy is established: they are both on even superfices, and both give the idea of something beyond their superfices. In viewing your picture in this manner, keep one eye shut: seeing from both eyes surround the objects too much.
Looking at your picture through the medium of a glass, blackened on one side, will, in divesting it of colour, show only its light and shade. This is a capital way of ascertaining if the latter is right.
In painting, it is a good plan to leave all you can to the imagination! it is flattering to the beholder; it gives him latitude for the exertion of his own mind; and he will supply, better than you, what you wanted, entirely to his own satisfaction—and, of course, to yours: deprive him of this, and you seldom fail to imbue him with apathy. His imagination assumes characters and forms of its own; you have set it painting: he finishes your picture, and is happy, because he has had something to do with it; and he will not quarrel with you, lest he should blame himself.
Painting should possess 'brilliancy without gaudiness, solidity without harshness, truth without familiarity, and sweetness without insipidity; all conjoined in the greatest breadth of colour.'
If a work possess the known and admitted excellencies of painting, although in the smallest and most moderate degree, it will have the peculiar appearance of looking well, which the want of them would quite invest with another character. The faults of a great mind, capable of the greatest beauties, will never appear to have a vulgar origin.
It is just possible a picture may possess no defects, nor any beauties; but he who thinks entirely for himself, will give to his work an appearance of originality; he will be consistent with himself! even faults will appear with some lustre in those to whom they are quite natural.
In conclusion, jealously endeavour to ascertain if any thing has been admitted, or omitted, that, consistent with these rules, may prejudice the general harmony of the work in the ensemble.
If I have made use of any contradictory observations, it was because I was impressed with the usefulness of their application to the principle described; in which matter I may take shelter under the noblest authorities of the Italian, English, or French, who have written on art. I likewise trust I have said nothing the student will have to unlearn.
In a word, the grandest, the most exalted principle requires no more time to become master of than the lowest and the worst! And, 'As no school ever excelled the Dutch—combining in itself all the excellencies of the Italian—painters should go to the Dutch and Flemish schools to learn the art of painting, as they would go to a grammar-school to learn languages.'—'A close examination of their works will give us that experience of the principles on which they wrought, in a very short space of time, which cost them ages to ascertain.
'The frequent allusions which every one, who treats of any art, is obliged to make to others, in order to illustrate and confirm his principles, sufficiently show their near connexion and inseparable relation.'
However, 'The great business of study is to form a mind, adapted and adequate to all times, and to all occasions; to which all nature is then laid open.'
'The highest point of art is to conceal itself: and the very praises we lavish on works that are 'true to nature,' only prove the perfection of art.'
I have taken up the art as I found it in the practice of the most approved methods: nor have I attempted to support any paradoxes for the sake of novelty.
Theories herein investigated, and many rules here laid down, many loose and scattered suggestions and successful results, that 'pass current from one to another,' I have endeavoured to place in the readiest manner before the student, that they may become immediately available to his purpose, or occasionally refresh his memory, without caring whence they may be derived. Even in the collecting of disjointed materials, a structure is formed every way calculated to abridge his labours and shorten the road, however carelessly thrown together; and will, in all probability, stimulate him to further investigation.
Improve every hour, and the mind will become variously enriched by systematic study: it will look through Nature with a discriminating power, even to her minutest productions, but with a refinement of taste and skill of selection that will reject all that is unworthy. When small pretension finds a welcome, it usually arises from ignorance in those who patronize. These persons, in their turn, generally pay the penalty their errors or conceit bring upon them.
The Author of this Work teaches upon the principles therein demonstrated.