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Image from page 138 of “The art of drawing in its various branches : exemplified in a course of twenty-eight progressive lessons, calculated to afford those who are unacquainted with the art, the means of acquiring a competent knowledge without the aid of
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Identifier: gri_c00033125010497473
Title: The art of drawing in its various branches : exemplified in a course of twenty-eight progressive lessons, calculated to afford those who are unacquainted with the art, the means of acquiring a competent knowledge without the aid of a master : being the only work of the kind in which the principles of effect are explained in a clear, methodical, and at the same time familiar style
Year: 1827 (1820s)
Authors: Smith, Thomas, watercolorist Sherwood, Gilbert & Piper, publisher Clowes, William, 1779-1847, printer
Subjects: Drawing Watercolor painting Color
Publisher: London : Printed for Sherwood, Gilbert, and Piper, Paternoster-Row
Contributing Library: Getty Research Institute
Digitizing Sponsor: Getty Research Institute
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r:l GrFRE BRAWX2TG »%;,..„ * rrj^ZJK-f. ? MINIATURE PAINTING. 89 as pure and unchanged as when first laid on: nor willany one be surprised when they consider that water co-lours are mixed and laid on with a pure unchangingfluid, (water), which, evaporating as the colours dry,leaves them as free from the mixture of extraneous mat-ter, which might injure them, as they were before theywere rubbed; whilst, on the contrary, oil colours aremixed and laid on with a vehicle (oil), which is certainto change and grow more yellow with age, and whichremaining intimately combined with the colours mustnecessarily alter their tone: it is this change that giveswhat picture fanciers call melloxmiess, and which may beserviceable to those artists who are. deficient in that way ;though, for my part, I prefer the mellowness whichcomes from the touch of the painter, to that which isgained by the changing of the colour, or rather of theoil; for the same colours mixed with water would stillremain the sa
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