Chapter VIII: Section I: Cuyp's Principle

The simplest arrangement and treatment of Colours will be found in the style of Cuyp and Both; objects in shadow are relieved against a warm sunny sky. For the reasons given in the Sketcher's Manual, with regard to Progressive Execution, these are the best adapted to beginners; objects in shadow do not present much variety of tint.

The whole aspect or general tone of the picture is warm. The shadows are cooler than the lights, but very far from cold; being of a Sepia brown, and sometimes warmer, with some cool reflections from the air. The sky is gently graduated from a rich yellow to the most delicate warm grey. The middle ground affords some blackish-green half-tints or shadows; and some golden lights are introduced in front.

Cuyp treated figures, animals, and boats in this way. The points requiring attention and care are, first, the tone of the sky and yellow lights, which must be obtained from yellow and Roman ochres; the sky should have a creamy quality of colour; and what little grey is introduced, must be Cobalt Blue, or Ultramarine with Carmine, or Lake, so as to prevent the slightest appearance of green; secondly, the masses of shadow must be of agreeable shape and must not be too dark. Plate.

CHAPTER II.

SECTION II.

BOTH'S PRINCIPLE.

The style of Both is only a slight variation from that of Cuyp. He adopted a different character of subject, usually contriving to relieve a mass of rock or bank, and a tree with delicate foliage against the sky; and he increased the warmth of the general aspect of the picture, by making the tree and part of another _light_ bank, of the rich brown afforded by burnt Terra de Sienna, and by introducing some red clouds in the sky. In some instances Both has not escaped the dangers that present the difficulty to his followers; the tone of these pictures appears hot, and thereby a vulgarity is occasioned, and that refinement which is required by Taste in the Fine Arts, is destroyed. Plate.

CHAPTER II.