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Updated: September 21, 2025
Painting has its bright colourists and its more sombre-loving artists, and so on the great camps of party would seem to have given the impulse to every condition of life, and “speciality” is the order of the day. No sooner is a new discovery made, no matter whether in the skies above, or the dark bowels of the earth, than an opportunity of disagreement is sure to arise.
The beauty her features might have lacked in form was amply made up for by perfection of hue, which at this winter-time was the softened ruddiness on a surface of high rotundity that we meet with in a Terburg or a Gerard Douw; and, like the presentations of those great colourists, it was a face which kept well back from the boundary between comeliness and the ideal.
Meanwhile the new Romantic school of brilliant colourists grew and flourished. Ary Scheffer, Delaroche, Delacroix, cradled in the storms of the revolutionary period, are all represented around us. Augustine and St. Monica, an immensely popular but affected and feeble composition. Some portraits by this artist may be also found on the walls.
In Rembrandt, the colour is brown and a white faintly tinted with bitumen; in Claude, the colour is blue, faintly flushed with yellow in the middle sky, and yet none has denied the right of these painters to be considered colourists.
But it is not surprising that a generation of exceptionally sweet and attractive but rather formless colourists should be shocked by the obtrusion of those black lines that seem to do violence to their darling. They are irritated by pictures in which there is to be no accidental charm of soft lapses and lucky chiaroscuro.
But in the face of all that he accomplished, and against such odds, and taking into consideration also the changes that may have crept in through engraver and colourists, it ill becomes us to indulge in captious criticisms.
There are greater colourists than Rembrandt, who, strictly speaking, worked in monochrome, modelling with light. No, not the paint alone, not the mystery of the envelope, not the magnetic gaze of the many eyes, but all combined makes an assault upon nerves and imagination.
It was in Lisbon that I first began to discern the mental effect of colour, and to see that it comes truly and of necessity from a people's temperament. Can a busy race be true colourists? In some parts of the town the eastern quarters one cannot help noticing the still remaining influence of the Moors.
Painting reached its loftiest height in Giorgione, Titian, Tintoret, and Paul Veronese. The greatest of colourists sprang from a world of colour. Faded, ruined as the city is now, the frescoes of Giorgione swept from its palace fronts by the sea-wind, its very gondoliers bare and ragged, the glory of its sunsets alone remains vivid as of old.
The colouring of Holland is low toned, and tender gradations lead away to the low and level horizon. The canals are sluggish and grey, and the clouds often heavy and dark. We saw how the brilliant skies and pearly buildings of Venice made Venetian painters the gayest colourists of the world.
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