Pintados

“ Let us suppose that a piece of pottery or porcelain has been painted, and that the action of the fire has made the coloring perennial, so that we find on it a portrait or a landscape everlasting as the ware itself. Let us suppose, further, that the tints are natural, that, in short, the portrait is all that we now understand by the word, and that in the landscape nature is displayed as on canvas—then we should have a specimen of the perfect union of the potter’s and painter’s art. ”

“ Methods of handling oil color may be reduced to two general classes: (a) the paint is used thin, as a wash, on a prepared canvas, or (b) it is put on in thick opaque touches. In either case the aim is the same—to paint for depth, vibration, illusion of light and color. If brush strokes are to be left intact, each of them must have shape and meaning,—that is, line; if color is put on in a thin wash, then its value, gradation, hue and texture are the main points,—and these belong to structural harmony. Mural painting is the highest form of the art, demanding perfect mastery of Composition. ”

“ In painting, endeavor to lay on your colors steadily and boldly, with as few strokes of the brush as possible. Keep your tints pure and distinct, each in the place you mean it to be. Do not, by going over and over them with the brush muddle and mix the tints, for some tints destroy each other, and the transparency and beauty of the painting will be lost. In softening or uniting the tints, it is best either to use an intermediate shade, or else, with a clean brush and no color, to melt them together. Much depends on the first painting. ”

“ Everywhere they give a free rein to fancy. They are perfectly unconscious of anomaly, or incongruity in, for instance, painting a stag yellow or a horse green. They paint birds, butterflies, flowers, in hues which nature never wore. Their taste for that harmony of tints which is the perfection of surface decoration demands the abnormal colors, and they never hesitate about using them. ”

“ When you have finished carving both the head and hands you are ready to paint them. You will need red, yellow, blue, and white oil paints. Use a piece of smooth wood or glass for a palette. Squeeze onto your palette a small amount of each color. As you know, people do not have pure-white skins. There is a tinge of yellow-orange in the white man’s skin, deep red and orange in that of the red man, brown in that of the Negro, and yellow in that of the Oriental. Begin by squeezing out onto your palette a small quantity of white paint. ”

“ A finished coloured drawing or painting of the design, to a smaller, or even to the same scale as the fresco painting, must be prepared, and the artist should endeavour to make an exact copy of this on the plaster surface, as there is no time to experiment in colour schemes, or to make alterations from the original coloured design in the short period that is at the disposal of the painter when he is at work on the wet plaster. ”

“ The texture of silk, for example, is given by the glass painter perfectly; but, in the struggle for picturesque effects of light and shade, all consistency of treatment is abandoned. The painter is here let loose; and he can no more withstand the attractions of paint than a boy can resist the temptation of fresh fallen snow. The one must throw snowballs at somebody, the other must lay about him with pigment. ”

“ The process of glazing has a tendency to soften and melt the tints into each other, but this effect must be enhanced by judicious use of the middle tints and shadows of the painting, and by leaving the edges thin. One of the greatest beauties of this kind of painting, when well done, is the effect of the rich colors melting into each other, with a charming indistinctness, which leaves something to the imagination of the beholder.
Those who have not been accustomed to the use of color in such masses, will, perhaps, be embarrassed at first by the difficulty of painting with clay. ”

“ When, therefore, the main relations of colour have been all set out and decided for your window, turn your attention to small differences, to harmonies round the harmonies. Make each note into a chord, each tint into a group of tints, not only the strong and bold, but also the subtle and tender; do not miss the value of small modifications of tint that soften brilliance into glow. Study how Nature does it on the petals of the pansy or sweet-pea. You think a pansy is purple, and there an end? ”

“ The brilliance of the mural paintings and richly coloured sculpture and mouldings was in harmony with the splendour of the oak-work—screens, stalls, and roofs—all decorated with gilding and painting, while the light, passing through stained glass, softened and helped to combine the whole into one mass of decorative effect. Colour was boldly applied everywhere, and thus the patchy effect was avoided which is so often the result of the modern timid and partial use of painted ornament. ”

“ Every instant changes the quality of the colors. They flit from tint to tint, and dissolve into other hues perpetually, and with a rapidity impossible to describe or paint. I am tempted to look over my shoulder into the north, and see if the “merry dancers” are not coming, so marvellously do the colors come and go. The blue and the purple pass up into peach-blow and pink. Now it blushes in the last look of the sun-red blushes of beauty—tints of the roseate birds of the south—the complexion of the roses of Damascus. ”

“ Whistler’s brochures. The printing exhibits every fantastic variation of type, and the pages range in colour from blue to brown, from grey to sage green and from rose pink to chrome yellow. The Philistines may sneer at this chromatic chaos, but we do not. As the painters are always pilfering from the poets, why should not the poet annex the domain of the painter and use colour for the expression of his moods and music: blue for sentiment, and red for passion, grey for cultured melancholy, and green for descriptions? ”

“ The artist conveys it to the paper, not by means of a pen or pencil as in Europe, but by means of a brush, either in outlines of the utmost delicacy and precision, to be filled in with colour where needed, or else in broad masses which receive no further contour, but on the contrary are the embodiment of the greatest imaginable freedom of artistic touch. ”

“ Here is a good list of colors for practical work. The first eight are enough for every purpose; but add, if you wish, purple and orange. Moist colors in pans are best. There are many different kinds of red, green, blue and brown paints; and as you may be puzzled and not know what to get, the names of the best hues of these particular colors are also given. The most useful paints in this list are yellow ochre, light red, Vandyke brown and Payne’s gray. Learn to work with them, use them often and see the beautiful effects they produce. ”

“ So much is the artist in love with his deep reds and blues, which he nearly always uses for the backgrounds of his figures, that he seldom insults them by painting on them except in so far as is necessary to the drawing, reserving his enamel mainly for the decoration of his whites and paler colours, keeping them in their places by a delicate fret of line and pattern work. ”

“ Having outlined the portion selected for painting on the prepared light or cream-coloured ground, supposing it to be a head or other part of the human figure, a very good way to begin is to lay in the shadows first, using a soft or half-worn hog-hair brush, the shadow colour to be of a warm greenish tint, of a mixture of emerald oxide of chromium, raw sienna, and light red, used thinly to get transparency. ”

“ When using water-colour always work from light to dark. That is, sketch your painting with a light colour. If you sketch it with a dark tint, then that tint will either run, and spoil your delicate tints, or else it will outline the edges with a harsh dark tint like the edges of clouds in a stormy sky.
Also avoid 'body colour'—or flake white. White paint is thick and opaque. Once white paint enters our painting, there it must continue. We cannot make dabs of white paint without a patchy effect. ”

“ I got hold of the Barber himself turned painter; and as the little cangia was moored alongside the Urania in order to hold all the mattresses, carpets, etc. I was his victim. First, it was a request for ‘three pounds to buy paint.’ ‘None but the best of paint is fitting for a noble person like thee, and that thou knowest is costly, and I am thy servant and would do thee honour.’ ‘Very well,’ say I, ‘take the money, and see, oh man, that the paint is of the best, or thy backsheesh will be bad also.’ Well, he begins and then rushes in to say: ‘Come oh Bey, oh Pasha! ”

“ Nothing can be more beautiful than the varying colours: when we call them varying it is unnecessary to say why they please. Painters, we know, in order to give a finish to their productions, overlay them with certain tints. The colours of the painting appear through the tint, are mingled but not confounded with it, and thus are produced a variety and vividness unattainable by any other means. ”

“ Without attempting to give a hard and fast definition, it may be said that a paint consists of any pigment, such as white lead, mixed with linseed oil, and thinned by means of turpentine to render it in such a condition that it may be readily applied to the surface of wood, iron and other work by means of a brush. Paint serves the purpose first of preserving the material to which it is applied, and secondly, but not always, a decorative object where the colour is of importance. ”

“ In proceeding to paint the letters, squeeze out a small quantity of the colour on to the wooden palette, and with the flexible palette-knife mix it with a little of the pale drying oil, and a very little spirits of turpentine. The latter can be dispensed with, if the smell of it be found injurious; otherwise it contributes to brighten the colours, and makes them dry more quickly. In painting keep the brush full, laying on the colour in long steady sweeps, not in short, hasty touches, which would leave irregularities of surface. ”

“ To the artist of ability sufficient to make use of it, it furnishes a palette which, although not of the same range as that of oil colors, yet affords an almost unlimited scale of colors, each of which is enhanced to the fullest degree by the brilliant glaze, with which the work is finished. The painting executed with these beautiful colors, moreover, is practically unchangeable, and none of the ravages of time, short of the destruction of the piece of ware itself, can affect it. ”

“ Still more so is the skill which has enabled the artist to prophesy, as he painted with his greys and his greens, that the tints which flowed from his pencil of one colour, should assume, from the nicely-regulated action of an element the most difficult to govern, hues and shades so exquisitely imitative of his great original. ”

“ Our good angels bear us company as we pass.
What an exquisite specimen of nature’s handiwork it looks to be, in the blaze of noon! It shines like polished silver dripping with dews. The painter is all ready with his colors, having sketched the outlines with lead. The water streams down in all directions in little rills and falls, glistening in the light like molten glass. Veins of gem-like transparency, blue as sapphire, obliquely cross the opaque white of the prodigious mass, the precious beauty of which no language can picture. ”

“ One artist may revel in exquisite golds, reds, and blues; another may prefer silvery greys and blues, warm fawn, and dull reds. But it is not true to say that the latter has not as much sense of colour as the former. His choice of tints is different. He sees Nature in more subdued hues. ”

“ The colors which the artists here use are formed upon the same model as those they have been in the habit of using on earth. They are more brilliant pigments, but color has always the same origin. Some paint with the brush and some paint with their fingers.
I had heard it remarked that the spirit had only to breathe on the canvas, and his thought would be represented, painted, and shaded in a second of time. ”

“ The safer plan is to mix a small quantity of the tint in a jar or on a piece of glass, and, having spread this on a piece of paper, the painter will be able, when it is dry, to judge of the shade, and to form an idea as to the relative qualities of the different colors required. ”

“ If you are painting a red man’s face, you must add more red and a bit of blue. For the face of an Oriental, add yellow to your white paint and the least bit of red and blue. For the black man’s face, use black paint instead of white paint and into it mix a very small amount of orange and blue. Use a palette knife for mixing oil paints and turpentine for thinning them. Do not be timid when you begin to paint. Strong and vigorous painting is as important and necessary as strong and vigorous modeling in bringing out the features and expression. ”

“ Nearly, if not quite all the various colors used in painting may be made from the five primitive colors, black, white, blue, red and yellow, but for the Daguerrean artist it would be the best policy to obtain such as are required by their art already prepared. ”

“ It would be ridiculous for a painter of domestic scenes, of portraits, landscapes, animals, or still life, to say that he despised those qualities which has made the subordinate schools so famous. The art of colouring, and the skilful management of light and shadow, are essential requisites in his confined labours. If we descend still lower, what is the painter of fruit and flowers without the utmost art in colouring, and what the painters call handling; that is, a lightness of pencil that implies great practice, and gives the appearance of being done with ease? ”