CHAPTER II.
SECTION III.
HOBBIMA AND RUYSDAEL'S PRINCIPLES.
These masters have adopted a style which, though apparently as opposite to that of Cuyp and Both as cold is to warm, resembles it in this respect—they rarely, if ever, admit positive colours in force, and thus offer another simple principle for the treatment and arrangement of tints.
In Hobbima and Ruysdael, who painted landscapes, dark brownish masses are relieved against a cloudy grey sky, and some white or grey light is introduced in front to carry the colour of the sky through the work. The general aspect of the picture is cold. What little warmth of tone may be admitted, is to be found in the centre of the shadows; and the only approximation to positive colour, is in the sky, a little cold feeble blue, obtained in water-colours from Indigo; and a small portion of a deeper shade of the same tone of blue on mountains or trees in shadow in the distance; or a little cold green in the middle ground. If ever any red be introduced, it must be a mere speck of vermilion shaded with grey, to give value by contrast to the neutral tones, which make up the principle part of the picture. Plate.
OSTADE'S PRINCIPLE
CHAPTER II.