The colour of flesh, as a whole, belongs to the active side, yet the bluish of the passive side mingles with it. The colour is altogether removed from the elementary state and neutralised by organisation.
To bring the colouring of general nature into harmony with the colouring of a given object, will perhaps be more attainable for the judicious artist after the consideration of what has been pointed out in the foregoing theory. For the most fancifully beautiful and varied appearances may still be made true to the principles of nature.
CHARACTERISTIC COLOURING.
The combination of coloured objects, as well as the colour of their ground, should depend on considerations which the artist pre-establishes for himself. Here a reference to the effect of colours singly or combined, on the feelings, is especially necessary. On this account the painter should possess himself with the idea of the general dualism, as well as of particular contrasts, not forgetting what has been adverted to with regard to the qualities of colours.
The characteristic in colour may be comprehended under three leading rubrics, which we here define as the powerful, the soft, and the splendid.