Field's Chromatography or Treatise on Colours and Pigments as Used by Artists

Black is the last and lowest in the series or scale of colours descending--the opposite extreme from white--the maximum of colour. To be perfect, it must be neutral with respect...

The third and last of the primary or simple colours is _blue_, which bears the same relation to shade as yellow to light. Hence it is the most retiring and diffusive of all colo...

Red is the second and intermediate of the primary colours, standing between _yellow_ and _blue_; and is also in like intermediate relation to _white_ and _black_, or light and s...

Yellow is the first of the primary or simple colours, nearest in relation to, and partaking most of the nature of, the neutral white; it is accordingly a most advancing colour,...

Green, which occupies the middle station in the natural scale of colours and in relation to light and shade, is the second of the secondary colours. It is composed of the extrem...

As colour, according to the regular scale descending from white, ceases properly with the last of the tertiaries, olive, in theory the neutral black would here form a fitting co...

Although the secondary colours are capable of being obtained by admixture of the primaries in an infinitude of hues, tints, and shades; yet simple original pigments of whatever...

The term "colour" is equivocal when applied to the neutrals, yet the artist is bound to consider them as colours; for a thing cannot but be that of which it is composed, and neu...

Purple, the third and last of the secondary colours, is composed of _red_ and _blue_, in the proportions of five of the former to eight of the latter; proportions which constitu...

Pigments may be defined as colours in a solid or insoluble state, prepared for the artists' use. Hitherto, we have treated of colours in the abstract sense, as appealing to the...

Assured as we must be of the importance of colouring as a branch of art, colours in all their bearings become interesting to the artist, and on their use and arrangement his rep...

We have adopted the term MARRONE, or _maroon_ as it is sometimes called, for our second and middle semi-neutral, as applicable to a class of impure colours composed of black and...

How early, and to what extent, colouring may have attained the rank of science among the ancients, are questions not easily set at rest; but that some progress had been made, ev...

Citrine, or the colour of the citron, is the first of the tertiary class of colours, or ultimate compounds of the primary triad, yellow, red, and blue; in which yellow is the ar...

Of the tribe of semi-neutral colours, GRAY is third and last, being nearest in relation to black. In its common acceptation, and that in which we here use it, gray, as was obser...

The general attributes of a perfect pigment are beauty of colour, comprehending pureness and richness, brilliancy and intensity, delicacy and depth,--truth of hue--transparency...

Olive is the third and last of the tertiary colours, and nearest in relation to shade. Like its co-tertiaries, citrine and russet, it is composed of the three primaries, blue, r...

Grey is the second and intermediate of the neutral colours, standing between _white_ and _black_. True or normal grey is only obtainable by admixture of pure white with pure bla...

Having briefly discussed the relations and attributes of colours and pigments generally, we come to their powers and properties individually--a subject pregnant with materials a...

Russet, the second or middle tertiary colour, is, like citrine, constituted ultimately of the three primaries, red, yellow, and blue; but with this difference--instead of yellow...

By mixing his _colours with white_, the artist obtains his _tints_. By mixing _colours with colours_, he produces compound colours, or _hues_. And by mixing _colours or tints wi...

Orange is the first of the secondary colours in relation to light, being in all the variety of its hues composed of _yellow_ and _red_. A true or perfect orange is such a compou...