This one is from the archives (Sold, but there’s a matted reproduction of it here.). I’m re-posting it because I like the composition and geometry of the image, and I’m thinking about trying to make a larger silk aquatint of the same scene. What do you all think? It would likely be black and white, unless I try printing it a la poupee, which might be sorta fun too. Leave me some feedback in the comments if you have a sec, and let me know if you think I should bite the bullet and tackle it. 🙂
Thanks for stopping by today, and I’ll see you in the next post! Belinda
I may, as an illustration of my meaning recommend the beginner to select, as studies for colour, the works of Titian, Rubens, Vandyke, and occasionally of Murillo; but let him avoid, as studies in colour, the olive tinted pictures of the Italian school, and the sombre darkness of Spagnoletto, at least until he has made considerable progress and has well stored his mind with a just and correct power of appreciating the excellencies of the different great masters. And, whenever he may determine to copy any picture, let him decide also what his object may be in the undertaking; whether, that is to say, it be for its drawing, its colouring, its expression, or its general subject; then let him follow it up with reference to this peculiar design.
The mind, so trained in the best school of art, will avoid all undue gaudiness and glitter, and all meretricious ornamentation, as it will, on the other hand, dread to sink into the dark and gloom of extreme soberness in colour. There will ever be a constant anxiety to guard against violent oppositions of light and shadow, as well as strong contrasts of colour; and it will be ever carefully remembered, that the greatest beauty of art is “harmony”, — that quiet, unobtrusive harmony, which is called “tone”.
The Art of Miniature Painting, by Charles William Day 1852