New-York tribune., 1871-12-27
MYSTERIES OF COLOR.
A LECTURE ON AIT BY WILLIAM PAGE.

f. ". Perry j. o. JOhipson A ~ osatUTA' " H. ''
Daniel Huntington and many others. well known In art
circles were present, beside number OF ladies' Tne
lecturer illustrated his subject by frequent use OF the
black board which renders perfect report AZ mpos
| bility. In substance. he sad
LADIES AND GENTLEMEN Many OF yeu who t., were ere
GeaSored to 1t convey the idea Initiative art
nature in another plane. Before proceeding 10 SPEAK o
s Would sy h Gs you ay divide p"tors art into
dark aud light and cOOred The pigments that arc use9
sef Sro% pS, an1 blue @ sd 50 on though hsy represent
hight and dark We viii suppose line, that can he rrprr,
With then r" eirrIe These with linz Of beauty
which has been called Hogarths lne or the *rpe"tine
line are three necessary to begin with The red yr
low and blue in rolors. the three primary coors as
those three lines the three primary lines in ART me
scrpentine line forms great contrast with tne rlgbt
angles and parallel lines Som" Of the finest s'atu,s ~
represent right angles and parallel lines Tue most alb
-oute contrast "a right line is e drawn across ~
right line drawn across pfrpcndclar lne ,ha ~
right angles and then by drawing Others IRON the l
u contact outward at more acute angles, sIoWen % ma~
the perpendicular and line might bc SAID 10 rcposc
The extreme. Of ch, and dark only the front
Of the picture they backward becoming DINNER
until they lost n ratio agreeing with their rcmo
Perhaps the be- schools are those which proceeded
according to The ruir" Of linear art Ih,r. are Ii Tr
Of light aud half light, niddl" tint. and dark ana Ial
dark. These ar" TO be represented. hcaus" though We
speak of light mean white the representative OF IT,
and they are to M II u& considered as ths element. M en
sidered to exist half way between the middle tint and
the wnite The adustmc nt III. bs,nce the erad'ns LAT n
We these @ s are smch ni ry mars sxrr M DID, m M e
great excellence rests upon the Hl with whicl, he par
M n%d m n" N wlns ls r'tU no wei az IN art
ont OF nraclsm with nasir, 1t seems 10 rcprtsrni @
everything g-the hard. the so light and dark wet ana
dry, that too much consideration cannot De gwen 10
these first principles: L,.,. ..,o.o,o. o. ,,,,
and light in nature. II only occur III ITS fullest
force midway between the extremes OF light and dark
Tn uuo rst:.dinG OF This will be fac iltacd by three pre-
pari patcle On the board or red, yellow aud h!n',
arranged parallel to each other The reddes red he
here mixrv brtwri white and black and in nature
tncy are possible In The Greatest Iul'nrta m'd"y d I'D
absorb. more dark would obs nre them ana
when man dsess ms 81 picture o% 30 ,ssrshx ina. "
reps"t nature uost fully. he must be clear and strong
it "r to have thr eAct baanre These pairhe. OF
color the board do not fairly rGprrsrni VIVA, , was was
is to suppose these the ulness OF red, yellow, aud
| blue.
color. D rn%oi ~ i be- u.e t. illustrate very wen fctnrrs
do their relative values by iampleht for
can hardly discern the difference between green and
hlmc but yellow Is thr trcks;cr i'll this ari' al light.
Whit sail o. the economy of ehinOcnrO iscqnaliy true
Of color TIE difference the degrees to be expressed
in color can only be realized by those who have given
grrat deal attention to ana have felt the dIfirneN
In great cxa;npcs Of art. One needs sometimes to turn
lrrure Gp'ideown to 'ee th srad,ons & int irny WGr
expressed. It requires uot only thr orga;zatipn hui
Mrn M "r'i, oii~n use whit though they had an
uugd power a of increasing IT. VERY "hr TeDosH rlT
the Iicht Of nature II may he ueh TO represent that
deyrnr o, ligl nf the sun which would the eye
halls and paIntss use it ns If r1 it was ct NO I1s Tns.
th epnatcr or narrower yocabulary of the
Inir. tbs daerrnre between the real artist ana
| bmn..er ~
Tnrr. are many principles of color which parable!
To- tt ~ cb;a-gsrmro The black well he
made 70 show many things which should desire say.
| "A. lirlf llv of ypl
who Know Brrnct Of color and rhiarosc"ro will
for iustncr an idea Of the breadth. what he calls
lines "r coor matters NOT; he makes sometimes his
darkest dark opposite to his most powerful though small
st and kre m his picture divided into great parts
| r,ii = breadth He holds it necessary carry
portion The light OF his picture into the darkest part
erecting something upright opposed to it, or by bring
H.. his EXTREMIST dark into the light and
shis he calls dag nal compo ticn He also another
toriu, makes a centre extremity dark and surrounds It
en fleet He gives examples in linear composition
color and char iosc,O and taxes them separately ana
thcv Of course OF great 10 the student sne
to these things. They Also very useful to the
T~ subject Of art has always Of great interest
manknd very little has been written ot the things
%Gs taking "st 9' s, s y,psh, pnr Of
and middle tints very know the real meanings of
the & rms. said when beginning the other evening.
that the ordrr nature which we call beauty was sin
| ply the order OF relations Of one thing 10
another. or one thing IN IT. parts to other
character throughout is said = be beautiful by
admir- OF lion. and dove is said to be beautiful
becau.e this uity rerceptble in IL. And
So Landscape being the appearance OF the laws Of
ordr ana relations, - ni,i'i % M -; rrth - -, b
sunset the rosy tintS OF morning; an, IT Is that
beauty which is 3" WIDE that makes the business ot the
painter when he comes near 10 tue paranei
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