 Colouring does not depend on where the Colours are put, but on where the lights and darks are put, and all depends on Form or Outline. On where that is put; where that is wrong, the Colouring never can be right; and it is always wrong in Titian and Correggio,...  The Family Library (Harper). - Page 1411846Full view - About this book
 | Allan Cunningham - Artists - 1830 - 374 pages
...His first anxiety is about his colours. " Colouring," says this new lecturer on the ChiaroScurOj " does not depend on where the colours are put, but...never equal Raphael and Albert Durer, Michael Angelo and Julio Romano. Clearness and precision have been my chief objects in painting these pictures —... | |
 | Allan Cunningham - Architects - 1833 - 292 pages
...His first anxiety is about his colours. " Colouring," says this new lecturer on the ChiaroScuro, " does not depend on where the colours are put, but...shall never equal Raphael and Albert Durer, Michael Angela and Julio Romano, Clearness and precision have been my chief objects in painting these pictures... | |
 | Allan Cunningham - Painters - 1831 - 292 pages
...artists. His first anxiety is about Ms colours. " Colouring," says this new lecturer on the ChiaroScuro, " does not depend on where the colours are put, but on where the lights and darks are ,put, and all depend? on form or outline. Where that is wrong the colouring never can be right, and it is always... | |
 | Allan Cunningham - Painters - 1859 - 288 pages
...His first anxiety is about his colours. * Colouring," says this new lecturer on the Chiarofcuro, " does not depend on where the colours are put, but...never equal Raphael and Albert Durer, Michael Angelo dud Julio Romano. Clearness and precision have been my chief objects in painting these pictures. clear... | |
 | Allan Cunningham - Artists - 1886 - 360 pages
...artists. His first anxiety is about his colours. " Colouring," says this new lecturer on the Chiaro-scuro, "does not depend on where the colours are put, but...never equal Raphael and Albert Durer, Michael Angelo and Julio Romano. Clearness and precision have been my chief objects in painting these pictures —... | |
 | William Blake, Frederick Tatham - Artists - 1906 - 332 pages
...How should he, when he does not know how to draw a hand or foot, know hc/w to colour it ? Colouring does not depend on where the colours are put, but...darks are put, and all depends on form or outline, on where that is put ; where that is wrong the colouring never can be right." Fuseli was expected to... | |
 | Arthur Symons - 1907 - 460 pages
...His first anxiety is about his colours. ' Colouring,' says this new lecturer on the Chiaroscuro, ' does not depend on where the colours are put, but...can be right, and it is always wrong in Titian and Corregio, Rubens and Rembrandt ; till we get rid of them we shall never equal Raphael and Albert Durer,... | |
 | Edwin John Ellis - Artists - 1907 - 506 pages
...Colouring. How should he who does not know how to draw a hand or a foot know how to colour it Colouring does not depend on where the colours are put, but...darks are put, and all depends on Form or Outline — on where that is put Where that is wrong, colouring can never be right, and it is always wrong... | |
 | Arthur Symons - Artists - 1907 - 470 pages
...Where that is wrong the colouring never can be right, and it is always wrong in Titian and Corregio, Rubens and Rembrandt ; till we get rid of them we...never equal Raphael and Albert Durer, Michael Angelo (~ and Julio Romano. Clearness and precision have I been my chief objects in painting these pictures... | |
 | Arthur Symons - Literary Criticism - 1907 - 464 pages
...that is wrong the colouring never can be right, and it is always wrong in Titian and Corregio, Eubens and Rembrandt ; till we get rid of them we shall never equal Raphael and Albert Durer, Michael Angelo and Julio Romano. Clearness and precision have been my chief objects in painting these pictures —... | |
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