The works of the Japanese are not to be overlooked, for in certain branches of art they are inimitable, and as colourists they are almost perfect. On the commonest of their lacquer trays we generally have a bit of good colouring, and their coloured pictures are sometimes marvels of harmony.
As to the styles of colouring adopted by the nations referred to, I should say that the Indians produce rich, mingled, bloomy, warm effects—that is, effects in which red and yellow prevail; that the Chinese achieve clearness, repose, and coolness—a form of colouring in which blue and white prevail; and that the Japanese effects are warm, simple, and quiet.
Besides studying the works of India, China, and Japan, study those also of Turkey and Morocco, and even those of Algeria, for here the colouring is much better than with us, although not so good as in the countries first named. No aid to progress must be neglected, and no help must be despised.[19]
With the view of refining the judgment further in respect to colour, get a good colour-top,[20] and study its beautiful effects. See also the "gas tubes" illuminated by electricity, as sold by opticians, and let the prism yield you daily instruction. Soap-bubbles may also be blown, and the beautiful colours seen in them carefully noted. These and any other available means of cultivating the eye should constantly be resorted to, as by such means only can we become great colourists.
As to works on colour, we have the writings of Field, to whom we are indebted for valuable discoveries; of Hay, the decorator, and friend of the late David Roberts, but some of his ideas are wild and Utopian; of Chevreul, whose work will be most useful to the student; and the small catechism of colour by Mr. Redgrave, of the South Kensington Museum, which is excellent. The student will also do well to carefully study the excellent manual of "Colour" by Professor Church, of Cirencester College.
FOOTNOTES:
[10] If a dark grey tint be mixed upon a white slab it will appear dark in contrast with the white, but if a small portion of this same grey is applied to black paper it will appear almost white.
[11] An equivalent of blue is 8, of red 5, of yellow 3.
[12] Real ultramarine is sold at £8 per ounce. The best imitation, or German ultramarine, is procurable at any oil-shop at about 3s. to 4s. per pound. The best carmine should be procurable at 6s. per ounce, but artists' colourmen often charge £1 1s., owing to the small demand for this pigment. The best chrome yellow (chrome yellow is kept in many shades) is about 1s. 6d. per pound.
[13] Some of these colours are not of a permanent character and could not be used in work intended to be lasting. I use them for patterns for our manufactures, where when the drawing is once copied in a fabric it is destroyed. Some of the brightest colours are unfortunately the most fleeting.