The Bianchi party, on the other hand, endeavour to compensate for the want of positive brilliancy, by refining or increasing the delicacy and beauty of the tints.
Light is the origin, or immediate cause of colour, and the brighter the light, the greater variety of tints will be found or displayed. As we cannot rival the cause, the Bianchi contend that we must increase the effect by introducing colour in lieu of those tints which in nature appear neutral; and thus conceal the weakness of our imitation of the cause, by making it apparently produce greater effects. Thus all greys are rendered by pure Ultramarine blue tints, or delicate pearly purple, and the greatest possible variety of beautiful and delicate colours are introduced in the light; while the shadows are generally of a neutral colour, the most decidedly contrasting with the tints in the light. But sometimes the colour is also carried through the shadows as well as the lights; positive crimson being introduced into those of leaves or grass; while those of flesh are rendered by a dull red; and those of a sandy bank by pure blue. Plate.
The Neri complain that the Bianchi want tone, and the Bianchi that the Neri want purity and light.
Each of these factions contends, that all the difficulty of fine colouring is to be found only in their own aim; while they hold in perfect contempt the productions of their opponents, as being of such facile achievement as to the sarcasm of Michael Angelo,—to be "fit only for children," and beneath the attention of those who profess to study the Fine Arts.
THE NERI
The main difference between the principles of these two parties or factions, will be found to lie in the treatment of the atmospheric influence and association, previously alluded to. The Bianchi availing themselves of the former circumstance, as a reason for introducing a great variety of pearly greys, on the purity and beauty of which they contend fine colouring is dependent; and the Neri availing themselves of the latter, as an excuse for the introduction of breadth of warm tones, and the omission of as much as possible of the cool tints, which are deemed so indispensable by their rivals; they limit the representation of atmospheric influence to the least possible degree. Titian's Venuses are masses of the local colour of flesh, broken with so little half-tint, that they are scarcely round, and satisfy few but critics sufficiently learned in the Art, to be contented with the beauties of Art, as a substitute for the imitation of Nature.
This class of colouring is founded upon the power of Association, previously alluded to, by which, the local colour overpowers the greys of atmospheric influence; in other words, that to the eyes of the many, flesh looks of a flesh colour, and ought to be so represented. But the full effect of Association is here not allowed for. In looking at flesh, we know it to be flesh colour; and we know it to be round; and it requires some education of the eye to discover the atmospheric influence, as well as the minute gradations in form. But on the other hand, in looking at a picture, we know it to be a flat surface; and however far the imagination may be willing or have a tendency to supply the deficiencies in the representation, Association is an antagonist and not an ally. This will become evident upon making outlines of objects and filling them up with flat tints; imagination will not have power to make them appear to be round, or to recede. The beauties of this class of colouring are solely conventional.
Titian, Giorgione, and Sir Joshua Reynolds lead the van of the Neri; Rubens, Vandyke, and Lawrence are at the head of the Bianchi; unless, indeed, we should consider Turner as general-in-chief of the latter. Claude was probably of the Bianchi faction; but Time, who is the great ally of the Neri, has made him appear in some of his productions an adherent of that party.
It may be added, that most historical painters lean to the Neri faction, on account of the disadvantage arising from too close an approach to the common appearance of every-day nature, of which the effect is described in the proverb, that "familiarity breeds contempt," and consequently is destructive of that grandeur, solemnity, or refinement which is indispensable in high art; and they take refuge in the "cloistered tone" of Ludovico Caracci, so commended by Sir Joshua Reynolds, a conventional beauty which will presently be noticed. The Landscape painters, on the other hand, almost universally belong to the Bianchi party; as truth or apparent truth is so much more indispensable in subjects that only display the scenery of nature, and which depend upon that resemblance for producing an impression, than in subjects which appeal to the passions by the display of some stirring incident. From the nature of the materials employed, the tendency of oil painting is to the side of the Neri; whilst the general inclination induced by Water-colour drawing, is in favour of the Bianchi party. The alleged principle of the colouring of the Neri is deduced from the hypothesis laid down by Sir Isaac Newton, that neither white nor black are colours, therefore say the Neri, "neither should appear in a finely coloured picture; the brightest lights should not be white; the deepest shadows should not be black;" nevertheless, those productions which are cited by this party as the finest specimens of colour in existence, do contain both white and black. In the celebrated picture by Giorgione, copied recently by Mr. Ward, R.A., to the eye of the uninitiated are presented both white lights, and black shadows. The former, it is true, are reduced by Time or glazing; and the latter are excused as having lost their original colour.