File:The theory and practice of landscape painting in water-colours. Illustrated by a series of twenty-six drawings and diagrams in colours, and numerous woodcuts (1871) (14597037980).jpg

Identifier: theorypracticeof00barn (find matches)
Title: The theory and practice of landscape painting in water-colours. Illustrated by a series of twenty-six drawings and diagrams in colours, and numerous woodcuts
Year: 1871 (1870s)
Authors: Barnard, George, 1807-1890
Subjects: Landscape painting Watercolor painting
Publisher: London : George Routledge & Sons
Contributing Library: Getty Research Institute
Digitizing Sponsor: Getty Research Institute

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Text Appearing Before Image:
SIENNA.LIGHT RED.ROSE MADDER.INDIAN RED. TURPLE MADDER.VANDYKE BROWN.BROWN PINK.BLACK. FRENCH BLUE. BROWN MADDER.SEPIA. Paynes gray. INDIOO.COBALT. The box being placed on the left hand, or on that side of the drawing,the yellows will be furthest from the person. The rounded cover of the box,being divided into three cup-like forms, is for mixing washes when out ofdoors and it is inconvenient to carry saucers ; the flat flap is that on whichthe brush is touched to mix or vary tints. In large works, however, it isalmost necessary to carry a few saucers, and three or four of the pigmentsthe most used, such as cobalt, yellow ochre, gamboge, and brown madder, incollapsible tubes; these can be placed in large masses on the palette, orrapidly made into washes in the saucers, for covering large surfaces. Thepigments contained in these boxes ought not to dry and crack; but as theywill sometimes do so when long exposed to the sun and drying wind, they OF TWENTY-FIVE OF THE MOST USEFUL PIGMENTS.
Text Appearing After Image:
THE COLOUR-BOX. 51 should be shut up as soou as possible. A small piece of sponge, cut squareand kept wet, or a damp strip of linen laid over them before they arecovered at night, will render them moist and easier to work. If at any-time a pan of colour is put in to replace one exhausted, the bottom of itshould be either pasted or gummed, as otherwise it is apt to shake aboutand sometimes adhere to the cover. Although portable moist-colour boxes rarely contain more than theabove list of pigments, there are many more which the experienced artistfinds of use, either in obtaining certain effects, or as substitutes for some ofthose already named. An enlarged scale of twenty-five pigments has beenplaced before the student in Plate 4, having an order approximating tothat which they occupy in the box, and at the same time extended insuch a manner as to present to the eye, at one view, an harmoniousarrangement of colours. The above pigments have been selected as most generally useful andeligi

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