A treatise on painting : In four parts ... The whole illustrated by examples from the Italian, Venetian, Flemish, and Dutch schools (1837)
Burnet, John, 1784-1868 · London : James Carpenter · leaf 242
mostintense opposition of colours, and combined the greatest possible effectwith the sweetest and softest repose imaginable. Plate VI. Fig. 1. I have noticed in another place, that when the darks of the group arebrought off the light side of the background, greater firmness is obtained,and more… … LIGHT AND SHADE IN PAINTING. 27 darks are placed on the delicate half light, instead of on the strong light,they have greater force, as the ground has a more retiring quality : thestrong colours have also a more natural appearance, as in the event ofcolours being opposed to the glare of light,…
Painting
Internet Archive · Getty Research Institute · Public Domain Mark 1.0. Free to use for anything.
![An illustration from Banbury chap books and nursery toy book literature [of the XVIII and early XIX centuries] (1890)](https://img.insideoutlibrary.com/img/200/ia-banburychapbooks00pearrich-91-267.webp)
![An illustration from Picture Posies. Poems chiefly by living authors, and drawings by F. Walker, J. W. North, A. B. Boughton [and others] ... Engraved by Dalziel Brothers (1874)](https://img.insideoutlibrary.com/img/200/bl-bl_002911096_0-33-1.webp)
![An illustration from Banbury chap books and nursery toy book literature [of the XVIII and early XIX centuries] (1890)](https://img.insideoutlibrary.com/img/200/ia-banburychapbooks00pearrich-127-400.webp)
