File:A treatise on painting - In four parts The whole illustrated by examples from the Italian, Venetian, Flemish, and Dutch schools (1837) (14784393125).jpg

Identifier: treatiseonpainti00burn (find matches)
Title: A treatise on painting : In four parts ... The whole illustrated by examples from the Italian, Venetian, Flemish, and Dutch schools
Year: 1837 (1830s)
Authors: Burnet, John, 1784-1868
Subjects: Painting
Publisher: London : James Carpenter
Contributing Library: Getty Research Institute
Digitizing Sponsor: Getty Research Institute

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indeed have all the works from Coreggios own hand. Opiein his lectures gives a clear definition of Coreggios management of chiar-oscuro, as follows : By classing his colours, and judiciously dividing them into few andlarge masses of bright and obscure, gently rounding off his light, andpassing, by almost imperceptible degrees, through pellucid demi-tints andwarm reflections, into broad, deep, and transparent shade ; he artfullyconnected the fiercest extremes of light and shadow, harmonized the mostintense opposition of colours, and combined the greatest possible effectwith the sweetest and softest repose imaginable. Plate VI. Fig. 1. I have noticed in another place, that when the darks of the group arebrought off the light side of the background, greater firmness is obtained,and more vivacity, which latter is the peculiar character of daylight.Cuyp, by placing his figures in such a position as to throw long shadowsacross the picture, gives a great appearance of sunshine. If the strong
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LIGHT AND SHADE IN PAINTING. 27 darks are placed on the delicate half light, instead of on the strong light,they have greater force, as the ground has a more retiring quality : thestrong colours have also a more natural appearance, as in the event ofcolours being opposed to the glare of light, their brilliancy is destroyed. A few small touches of light are sufficient to convey the light into thedark side of the picture, and to take off the heaviness of the shadows.In compositions, when the background is very dark, we find shiningsubstances, such as mirrors, metal, armour, &c. employed, as they takeon a sharp light, and thereby connect the shade with the light withoutdestroying its breadth ; on the contrary, they add to its depth. Plate VI. Fig. 2. When the light part of the group is placed upon the light side of theground, provided there can be sufficient firmness given, we must ofnecessity have a greater breadth of etfect. Vandyck has in this picturekept the principal light upon

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