COLOUR (n.)

COLORE (ita.) · COULEUR (fra.) · FARBE (deu.) · FARBE (chromatik) (deu.) · HELE KLEUR (nld.) · KLEUR (ALGEMEEN) (nld.) · VERF (nld.)
TERM USED AS TRANSLATIONS IN QUOTATION
COLORIS (fra.) · COULEUR (fra.) · COULEUR (CHAMP CHROMATIQUE) (fra.) · KLEUR (ALGEMEEN) (nld.) · TEINTE (fra.) · VERF (nld.) · VERVEN (nld.)
TERM USED IN EARLY TRANSLATIONS
COULEUR (fra.)
BAKER, Tawrin, DUPRÉ, Sven, KUSUKAWA, Sachiko et LEONHARD, Karin (éd.), Early Modern Color Worlds, Leiden - Boston, Brill, 2015.
BUSCH, Werner et MÜLLER-LUCKNER Élisabeth (éd.), Verfeinertes Sehen : Optik und Farbe im 18. und frühen 19. Jahrhundert, München, Oldenbourg, 2008.
DELAPIERRE, Emmanuelle, DELPIERRE, Gilles et PORTIGLIA, Hélène (éd.), , cat. exp., Arras, Musée des Beaux-Arts - Épinal, Musée départemental d'art ancien et contemporain, 2004, Ludion, 2004.
GAGE, John, Couleur et culture : usages et significations de la couleur de l’Antiquité à l’abstraction, Paris, Thames and Hudson, 2010.
GAGE, John, La couleur dans l’art, London, Thames and Hudson, 2009.
GIBSON-WOOD, Carol, Jonathan Richardson: Art Theorist of the English Enlightenment, New Haven - London, Yale University Press, 2000.
GINSBURGH, Victor et WEYERS, Sheila, « Roger de Piles, Louis XIV et son académie : accord ou désaccord », Annales d’histoire de l’art et d’archéologie, 24, 2002, p. 73-90 [En ligne : http://digistore.bib.ulb.ac.be/2015/DL2472117_2002_000_24_f.pdf consulté le 30/03/2018].
HARLEY, Rosamond Drusilla, Artists' Pigments c.1600-1835: A Study in English Documentary Sources, London, Archetype Publications Ltd, 2001.
HECK, Michèle-Caroline, Théorie et pratique de la peinture : Sandrart et la “Teutsche Academie”, Paris, Éd. de la Maison des sciences de l’homme, 2006.
LE RIDER, Jacqueline, Les couleurs et les mots, Paris, Presses universitaires de France, 1999.
LE RIDER, Jacqueline, « Ligne et couleur  : histoire d’un différent », Revue germanique internationale, 10, 1998, p. 173-184 [En ligne : http://rgi.revues.org/694 consulté le 28/04/2015].
LEHMANN, Anne-Sophie, « Hautfarben : zur Maltechnik des Inkarnats und der Illusion des lebendigen Körpers in der europäischen Malerei der Neuzeit », dans GEISSMAR-BRANDI, Christoph et HIJLYA-KIRSCHNEREIT, Irmela (éd.), Geschiter der Haut, Frankfurt am Main, Stroemfeld - Nexus, 2002, p. 93-128.
LICHTENSTEIN, Jacqueline, La couleur éloquente  : rhétorique et peinture à l’âge classique, Paris, Flammarion, 1999.
MARTINET, Marie-Madeleine, « L'or et l'argent dans l'art au XVIIe et au XVIIIe siècles en Angleterre : couleurs, lumières, valeurs », Argent et valeurs dans le monde anglo-américain aux XVIIe et XVIIIe siècles, Actes du colloque de Paris, Paris, Société d'études anglo-américaines des XVIIe et XVIIIe siècles, 1980, p. 61-74 [En ligne : http://www.persee.fr/doc/xvii_0294-1953_1980_act_11_1_2167 consulté le 25/10/2016].
MICHEL, Christian et LICHTENSTEIN, Jacqueline (éd.), Conférences de l'Académie royale de peinture et de sculpture. Les conférences au temps de Guillet de Saint-Georges, 1682-1699, Paris, École nationale supérieure des Beaux-Arts, 2008, 6 tomes, tome II, 2 vol.
MICHEL, Christian, LICHTENSTEIN, Jacqueline et CASTEX, Jean-Gérald (éd.), Conférences de l'Académie royale de peinture et de sculpture. Les conférences, 1712-1746, Paris, École nationale supérieure des Beaux-Arts, 2010, 6 tomes, tome IV, 2 vol.
MICHEL, Christian, LICHTENSTEIN, Jacqueline, CASTEX, Jean-Gérald, CASTOR, Markus A. et GADY, Bénédicte (éd.), Conférences de l'Académie royale de peinture et de sculpture. Les conférences au temps de Jules Hardouin-Mansart, 1699-1711, Paris, École nationale supérieure des Beaux-Arts, 2009, 6 tomes, tome III.
MICHEL, Christian, LICHTENSTEIN, Jacqueline, CASTOR, Markus A., MARTIN, Marie-Pauline, PERRIN KHELISSA, Anne et LAZ, Laurens (éd.), Conférences de l'Académie royale de peinture et de sculpture. Les conférences, 1752-1792, Paris, École nationale supérieure des Beaux-Arts, 2015, 6 tomes, tome VI, 3 vol.
MICHEL, Christian, LICHTENSTEIN, Jacqueline, COUSSEAU, Henry-Claude et GAEHTGENS, Thomas W. (éd.), Conférences de l'Académie royale de peinture et de sculpture. Les conférences au temps d’Henry Testelin, 1648-1681, Paris, École nationale supérieure des Beaux-Arts, 2006, 6 tomes, tome I, 2 vol.
MICHEL, Christian, LICHTENSTEIN, Jacqueline, HAOUADEG, Karim, MARTIN, Marie-Pauline et PERRIN KHELISSA, Anne (éd.), Conférences de l'Académie royale de peinture et de sculpture. Les conférences au temps de Charles-Antoine Coypel, 1747-1752, Paris, École nationale supérieure des Beaux-Arts, 2012, 6 tomes, tome V, 2 vol.
MICHEL, Christian, « Prologue. Les apories du discours théorique : lumière et couleur dans la littérature artistique et la pratique des peintres », dans HECK, Michèle-Caroline, FREYSSINET, Marianne et TROUVÉ, Stéphanie (éd.), Lexicographie artistique : formes, usages et enjeux dans l'Europe moderne, Actes du colloque de Montpellier et de Paris, Montpellier, PULM, 2018, p. 27-46 [En ligne : dx.doi.org/10.26530/OAPEN_644313 consulté le 15/03/2018].
PRIGOT, Aude, « COULEUR / COLORIS », dans HECK, Michèle-Caroline (éd.), LexArt. Les mots de la peinture (France, Allemagne, Angleterre, Pays-Bas, 1600-1750) [édition anglaise, 2018], Montpellier, Presses Universitaires de la Méditerranée, 2018, p. 152-159.
TEYSSÈDRE, Bernard, « Peinture et musique : la notion d’harmonie des couleurs au XVIIe siècle français », Stil und Überlieferung in der Kunst des Abendlandes. 3, Theorien und Probleme, Actes du colloque de Bonn, Berlin, G. Mann, 1967, p. 206-214.

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LINKED QUOTATIONS

13 sources
37 quotations

Quotation

Generall rules for Landtskip.

You shall alwayes in your Landtskip shew a faire Horizon, and expresse the heaven more or lesse either over-cast by clouds, or with a cleere skie, […].
2. If you shew the Sunne, let all the light of your trees, hilles, rockes, buildings, &c. be given thitherward : shadow also your clouds from the Sunne : and you must be very daintie in lessening your bodies by their distance, […].
If you lay your Landskip in colours, the farther you goe, the more you must lighten it with a thinne and ayerie blew, to make it seeme farre off, begining it first with a darke greene, so driving it by degrees into a blew, which the densitie of the ayre betweene our sight, and that place doth (onely imaginarily) effect.
[…].

Conceptual field(s)

GENRES PICTURAUX → paysage
CONCEPTION DE LA PEINTURE → lumière
EFFET PICTURAL → qualité des couleurs

Quotation

Colour according to Scaliger is a qualitie compounded of the elements and the light, so farre forth as it is the light. Averrois and Avenpace, said it was actus corporis terminati ; others a bare superficies. Aristotle called it corporis extremitatem, the extremitie or outmost of a body. The object of the sight is any thing whatsoever may be visible, […].
Whether all colours be compounded of white and black or no.
Theophrastus hath long since laboured to proove blacke to be no colour at all, his reason is, because that colour is proper to none of the elements, for faith he, water, ayre and earth are white, and the fire is yellow, but rather would fetch it from white and yellow, whereto Scaliger leaving Aristotle, perhaps for singularitie sake, seemeth to give consent, who sets downe four primary or first colours, viz.
 
White in the dry body as the earth.
Greene in thicke and moyst as the water.
Blew in the thin and moyst as the ayre.
Yellow in the hot as the fire.
 
Yet not without reason, for
Aristotle affirmed that blacke was the privation of white, as darknesse of light, to that whom Scaliger replyes nothing can be made of privation and habit, but we will leave their argument.

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs
CONCEPTION DE LA PEINTURE → couleur

Quotation

Of Painting,
The principall end and subject of this Art, is to set out things both in proportion of parts, and livelinesse of colour.
For the former, the proportion of parts, I have given sufficient information for the meanest capacitie in the precedent part of this tractat
: now therefore I will speake of the other, the colouring or setting out in colours. But first provide a frame or Easel called by Artists, which is very necessary to worke upon, especially in greater pieces of worke : the forme whereof followeth [ndr : présence d’un dessin de chevalet].
Also you must provide divers little shels to put your colours in, also pensils or all sorts, both for priming and other : a light ruler of one foot and a halfe, or two foot long : and colours of all sorts ground very fine upon a porphire or marble. […].
Painting may be performed either with water colours, or with oyle colours.
First I will speake of water colours, wherein I shall observe two things.
First, the diversitie of colours, and preparations. Secondly, their mixture, and manner of laying them on the ground.
First of the first, the diversitie of colours and their preparation.
Colours are either simple or compounded, meerely tinctures of vegetables, or substances of minerals, or both : the simple colours are such as of themselves, being tempered with the water or oyle, doe give a colour. The compounded are such, whose ingredients do exceed the number of one. Vegetables are rootes, juces, berries, and such like things as grow out of the earth. Minerals are such as are dig’d out of the earth, as earth, and stones, &c. All which follow in order, as well their preparations, as description. First note that every colour to be ground, ought first to be ground with the gall of a neat : then let them dry of themselves in a cold place, afterwards grinde them with gumme water for your use.
Now I am to come to the second thing observable (to wit) the mixture and laying the colours on the grounds, which is thus: your colours prepared for use, ought to be tempered according unto direction, still observing a meane : and to that end, mixe them by little and little, till the colour please you ; first you must lay on the ground colour, and let it dry throughly : then with a small pensill, pricke on the second colour, else it will be apt to run abroad, nor can you worke it so well, to make it seeme lively, as you may by pricking it one, specially in small peeces. 

Conceptual field(s)

PEINTURE, TABLEAU, IMAGE → définition de la peinture
CONCEPTION DE LA PEINTURE → couleur
MATERIALITE DE L’ŒUVRE → couleurs

Quotation

Of painting in Oyle.
Here you must provide one thing more then you did before : that is, a Pallet (so called by Artists) whereupon you must put a small quantitie of every such colour you are to use, the forme whereof followeth [ndr : présence d’un dessin de palette au dessous de ce paragraphe].

The colours to be used, are altogether such dry substances as I mentioned formerly : as Oker, Vermilion red lead, Umber, Spanish browne, Lam-blacke, Gambugice, Masticot, Orpment, Ceruse, or Spanish white, blew and greene Bise, Verdigrease, and a multitude of such like, which may be had at the Rose in
Cornehill, London.
Your colours must be ground all very finely, and tempered with Linseed oyle ; and to preserve them, put them in little earthen pans, and put water upon them, and cover them, that the dust come not at them : thus they may be kept a great while, and from thence you may take them as your use doth require.
There are divers colours which without the admixture of another colour, will not be dry a great while ; as Lake, Verdigrease, Lam-blacke : with such you must temper a little Umber or red lead.
Divers Painters there are, that having haste of worke, doe use to temper their colour with one part of fatte oyle, and two of common Linseed oyle, and by this meanes they make the colours dry the sonner : this fat oyle is onely Linseed oyle exposed to the weather, and so it becommeth thicker : yea sometimes you shall see it so thicke, that you may cut it almost like Butter : it may bee made likewise by boyling of it a little while, but the former is the best. As for the tempering of your colours, I can prescribe no surer way then experience with diligent observation.

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → technique de la peinture
MATERIALITE DE L’ŒUVRE → couleurs

Quotation

Of the Parts of a Piece
{Five Principa parts in a Picture.} In a
PICTURE from Nature, there are five Principall parts..
 
1.
Invention or Historicall Argument.
2.
Proportion, Symmetry.
3.
Colour, with Light or Darknesse.
4.
Motion, or Life, and their Action and Passion.
5.
Disposition, or œconomicall placing, or disposing, or ordering the work.
The
four first, are observed in all sorts of Pieces.
 
Disposition only in those Pictures, that have many figures ; not to appear mingle-mangle ; but, in all and every part of the Piece, to observe a decent comlinesse, or grace, in a mutuall accord, of all five.

Conceptual field(s)

CONCEPTION DE LA PEINTURE → couleur
CONCEPTION DE LA PEINTURE → lumière

Quotation

The five perfect Colours, with their Lights and Shaddowes.
{Murray, or Amethyst.} The best for
Limning, is a Lake of it self, of a Murray colour, which is best made, and to be had at Venice, or in Flanders at Antwerp ; […].
2.
Red, or Ruby.
{2. Fair Red, or Ruby.} If you will make a fair
Red for Limning, take India-Lake, (with breaks of a Scarlet, or Stammell-colour) there are fundry Lakes, which will shadow one upon another, and some so black, that they must be ground generally with Sugar-candy, amongst the Gum, and others with Sugar onely. You cannot grind them too much, nor need they washing. Vermilion also is another Red, which must be ground and wash’d.
3. Blew, or Saphire.
{3. Blew, or Saphire.} The darkest and richest is of
Ultra Marine of Venice ; but that is very dear, in the place thereof we use Smalt, of the best Blew ; Bises also of severall sorts, paler then other of five or six degrees. […].
4. Green, or Emrauld.
{4. Green, or Emrauld.}
Green ; the best is Cedar-green, in the place thereof, take Tripall, to draw with : Pink is also needfull for Landskips, mixed with Bise-ashes, makes another Green ; so likewise with Masticote and Ceruse, as you see cause. For light-greens, sap-greens, flour de Bise, tauny-green, needs nothing but steeped in water, which is best.
5. Yellow, or Topas.
{5. Yellow, or Topas.}
Yellow the best is Masticote, whereof there are divers sorts, paler or deeper ; yellow Oker, for want of better, is another also ; and these wash’d, not ground, do best ; […].

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs
MATERIALITE DE L’ŒUVRE → technique de la peinture

Quotation

For Russes, Lawnes, Linnen.
For Linnen, take white Lead mingle with Charcoal black, so making it whiter or darker at your pleasure ; for your fine Lawnes, put a little oyl smalt in amongst it, and with a fine little bag of Taffata stuffed with wooll or the like, take up the colour and presse it hard down where you would have it. 

For Velvets of all colours.
For
black-velvet, take Lamp-black and Verdigreace for your first ground ; but when it is dry, lay it over with Ivory black and Verdigreace, (to help it to dry) and for the shadow, use white Lead, with a little Lamp-black.
For
Green Velvet, take Lamp-black, and white Lead, and work it over like Russet Velvet ; then being dry, draw it only with Verdigreace, and a little Pinke, and it will be a perfect Green Velvet.
For a
Sea-water Green Velvet, lay on the foresaid mingled Russet Verdigreace only ; if you will have it more grassie, put to more Pinke.
For a Yellowish Green, put a little Masticot among your Verdigreace at your pleasure : but note this, all your shadowing must be in the Russet, and these Greens only drawn lightly over. 
For
Red Velvet, take Vermilion, and shadow it with Brown of Spain, and where you will have it darkest, take Sea-coale black mingled with Spanish Brown, and shadow where you will, letting it dry ; then glaze it over with Lake, and it will be a perfect red Velvet. 
For a
Crimson, or Carnation Velvet, put the more or less white Lead to the Vermilion, as you shal see cause.
For a
Blew Velvet, take Masticot and yellow Oker, and deepen it for the shadow with Umber.
For
Tauny Velvet, take Brown of Spain, white Lead, and Lamp-black, mixed with a little Verdigreace to shadow it, where you see occasion ; and when it is dry, glaze it over with a little Lake, and red Velvet added unto it.
For
Purple Velvet, take Oyl Smalt, and temper it with Lake, half Lake, half Smalt ; then take white Lead and order it as bright or as sad as you list.
For
Ash-coloured Velvet ; take Char-coale black, and white Lead, and make a perfect Russet of the same, deepning it with the black, or heightning it with your white at your pleasure.
For
Hair-coloured Velvet, grinde Umber by it self with Oyl, and lay it on your Picture, and heighten with white Lead and the same Umber.


For Sattens in Oyl Colours.
For Black Satten, grinde Lamp-black with Oyl, then mixe it with some white Lead ; where you will have it shine most, mingle some Lake with your white Lead.
For
White Satten, take white Lead ground with Oyl, then grinde Ivory black by it self, and where you will have it sad, adde more of the black.
For
Green Satten, take Verdigreace and grinde it by it self, then mixe some white Lead with it ; and where you will have it bright, adde some Pinke : if more inclining to a Popingjay, adde more Pinke to your white Lead : and to deepen it more, adde more Verdigreace. 
For
Yellow Satten, grinde Masticot by it self, yellow Oker by it self, and Umber by it self ; where you will have it lightest, let the Masticot serve ; where a light shadow, let the Oker serve ; where the darkest or saddest, Umber only.
For
Blew Satten, take Oyl Smalt, and white Lead, ground by themselves ; white Lead for the heightning, and Smalt for your deepning, or darkest shadow.
For
Purple Satten, mixe Oyl, Smalt, with Lake, and white Lead : heightning with white Lead.
For
Orenge Tauny Satten, take red Lead and Lake ; where you will have it brightest, take red Lead by it self, and where made sad, Lake.
For
Red Satten, grinde Brown of Spain by it self, mingling Vermilion with the same ; where you would have it light, put it a little white Lead.
For
Hair-coloured Satten, take Umber and white Lead ; heighten with your white Lead, and for the darke shadow of the cuts, adde to your Umber a little Sea-coale black.


For Taffata’s.
Make your Taffata’s all one as you do your Sattens, but you must observe the shadowing of Taffata’s ; for they fall more fine with the folds, and are thicker by much.
For changeable Taffata’s, take sundry colours, what you please, and lay them upon your garment or picture one by another ; first casting out the folds, then with your Pencil driving and working them finely one into another.


For Cloth.
Cloth likewise is as your Sattens, but that you must not five so shining and sudden a glosse unto it.


For Leather.
As Busse, take yellow Oker
, and some white Lead mixed with it : and where you will have it darker, by degrees, mixe Umber with it, and when you have wrought it over, take a broad Pencil and frieze it over with Umber, and a little Sea-coale black.
For yellow Leather, take Masticot and yellow Oker, shadow it with Umber at your pleasure.
For black Leather for shooes, Lamp-black, shadowed with white Lead.
For white Leather, white Lead, shadowed with Ivory black.

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs
L’HISTOIRE ET LA FIGURE → vêtements et plis

Quotation

Of Colours there be seven Species, to wit, White, Red, Yellow, Green, Blew, Brown, and Black. White and Black are the extremities, and the parents of all other Colours ; for Red is an equal mixture of White and Black, and so is Green : Yellow is two parts of White, and one of Red, &c.

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs

Quotation

An Exposition of Colours.
Abram colour,
i.e. brown
Auburne or Abborne,
i.e. brown or brown-black.
Cole black.
Sable black.
Velvet black.
Pitchy black.
Blanket colour,
i. e. a light watchet.
Venice blew,
i. e. a light blew.
Lincolne blew.
Coventry blew.
A Prince blew.
Crimson,
i. e. Scarlet.
Cumatical colour,
i. e. blew.
Flesh colour, a certain mixture of red white.
Gangran colour,
i. e. divers colours together, as in a Mallards, or Pigeons neck.
Sabell colour,
i. e. flame colour.
Incardine, or flesh colour.
Peacocke colour,
i. e. changeable blew, or red blew. 
Patise, or a kinde of red or Arsenick colour.
Plumbet colour,
i. e. like little Speks of gray clouds in a fair day. 
Puke colour,
i. e. between russet and black.
Purpurine, or Purple colour ; of which read
Matth. 27.2. A colour much used heretofore, by the Tyrians ; but now it is not to be had.
Ried colour, or Diversified.
Scarlet,
i. e. crimson, or stammel.
Shammy colour, a smoakie, or rain colour, which is a kind of yellow ; as you may see upon whited walls or in a Chymny.
Stammel,
i. e. Scarlet, as before.
Lyon Tawny.
Turkie colour,
i. e. Venice blew, or as others will have it, red.
Milke white.
Paper white.
Snow white. 
Bastard yellow.
Bright yellow.
Dark yellow.


Of the Names of Colours, read more in
Aul. Gel. Noct. Attic.

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs

Quotation

But here by the way, let no man think we mean by this Coloree (as they term it) in Drawing and Graving, such a position of the Hatches as the Chevalier Wolson has invented, and Pietro Santo the Jesuite {Theatre d’honeur. Tessera Gentil.} has follow’d, to distinguish their Blazons by : But a certain admirable effect, emerging from the former union of Lights, and shadowes ; such as the Antient would expresse by Tonus, or the Pythagoreans in their Proportions, and imitated in this Art, where the shades of the Hatches intend, and remit to the best resemblance of painting, the Commissures of the light and dark parts, imperceptably united, or at least so sweetly conducted, as tat the alteration could no more certainly be defin’d, then the Semitons, or Harmoge in musick ; which though indeed differing ; yet it is so gentle, and so agreeable, as even ravishes our senses, by a secret kind of charme not to be expressed in words, or discerned by the ignorant. 

Conceptual field(s)

PEINTURE, TABLEAU, IMAGE → définition de la gravure
MATERIALITE DE L’ŒUVRE → technique de la gravure
SPECTATEUR → perception et regard

Quotation

CHAP. XX. Of Colours for Drapery.
I.
For Yellow garmets. Take Masticot deepned with brown Oker and red Lead.
II.
For Scarlet. Take vermilion deepned with Sinaper lake, and heightned with touches of Masticot.

[...].

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs
L’HISTOIRE ET LA FIGURE → vêtements et plis

Quotation

CHAP. III. Of the fitting of Colours for Painting.
I. Upon the Pallet dispose the several colours, at a convenient distance, that they may not intermix ; first lay on the Vermilion, then the Lake, [&] ; thus is the Pallet furnished with single colours for a face.
           
Now to temper them for shadowing various complexions do thus.
II. For a fair complexion.
[...].
III. The faint shadows for the fair complexion.
[...].
IV. The deep shadows for the same.
[...].
V. For a brown or Swarthy Complexion.
[...].
VI. For a tawny Complexion.
[...].
VII. For a black Complexion.
[...].

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs
MATERIALITE DE L’ŒUVRE → technique de la peinture

Quotation

{Colour.} But to return to the Definition [ndr : la définition de la peinture mentionnée p. 24], that part remaineth to be expounded, wherein it is said that Painting representeth things with Colours, like to the Life ; whence it is to be marked that the Artificial painter ought to proceed according to the course of Nature, who first presupposeth Matter (as the Philosophers hold) unto which it addeth a Forme, but because to create the Substances of things proceedeth from an infinite power, which is not found in any creature (as the Divines teach) the Painter must take something instead of Matter, namely Quantity proportioned ; {The Matter of Painting.} which is the Matter of painting, here then the Painter must needs understand that proportioned Quantity, and Quantity delineated, are all one, and that the same is the Material Substance of Painting, for he must consider, that although he be never so Skillfull in the use of his Colours, and yet laketh this Delineation, he is unfurnished of the Principal Matter of his Art, and consequently of the substantial part thereof, neither let any Man imagine that hereby I go about to diminish the power and vertue of colour, for if all particular Men should differ one from another in Matter alone (wherein out of all doubt all agree) then all Men must needs be one, and so that most acceptable variety of so many particulars are now in the world would be wanting […], so if the Painter should only Pourtrait out a Man in just Symetry agreable to Nature ; certainly this Man would never be sufficiently distinguished by his mere Quantity : But when unto this proportioned Quantity he shall farther add Colour, then he giveth the last forme and perfection to the Figure : Insomuch, that whosoever beholdeth it may be able to say, this is the Picture of the Emperour Charles the First, or of Philip his Sonne, it is the picture of a Melancholick, Flegmatick, Sanguine, or Cholerick Fellow, of one in love, or in fear of a bashfull young Man, &c. and to conclude the picture will attain to such perfection, that the party counterfeited may easily be known thereby : Wherefore I advise the Painter to be very skillfull in the use of Colours, as in that wherein consisteth the whole perfection of his Art.

Conceptual field(s)

CONCEPTION DE LA PEINTURE → couleur

Quotation

Now the Painter expresseth two things with his colour : First the colour of the thing, whether it be artificial or natural, which he doth with the like colour, as the colour of a blew garment with artificial blew, or the green colour of a Tree with the like green : Secondly he expresseth the light of the Sun, or any other bright Body apt to lighten or manifest the colours, and because colour cannot be seen without light, being nothing else (as the Philosophers teach) but the extream Superficies of a dark untransparent Body lightned, I hold it expedient for him that will prove exquisite in the use thereof, to be most diligent in searching out the effects of light, when it enlightneth colour, which who so doth seriously consider, shall express all those effects with an admirable Grace ; […].
Now when the
Painter would imitate this blew thus lightned, he shall take his artificial blew colour, counterfeiting therewith the blew of the garment, but when he would express the light, wherewith the blew seems clearer, he must mix so much white with his blew, as he findeth light in that part of the garment, where the light striketh with greater force, considering afterwards the other part of the garment, where there is not so much light, and shall mingle less white with his blew proportionably, and so shall he proceed with the like discretion in all the other parts : and where the light falleth not so vehemently, but only by reflexion there he shall mix so much shadow with his blew, as shall seem sufficient to represent that light, loosing it self as it were by degrees, provided alwayes, that where the light is less darkned, there he place his shadow,
In which judicious expressing of the effects of light together with the
colours, Raphael Urbine, Leonard Vincent, Antonius de Coreggio and Titian were most admirable, handling them with so great discretion and judgement, that their Pictures seemed rather natural, then artificial ; the reason whereof the vulgar Eye cannot conceive, notwithstanding these excellent Masters expressed their chiefest art therein, considering with themselves that the light falling upon the flesh caused these and such like effects, in which kind Titan excelled the rest, who as well to shew his great Skill therein, as to merit commendation, used to cozen and deceive Mens Eyes, […].

Conceptual field(s)

CONCEPTION DE LA PEINTURE → couleur
EFFET PICTURAL → qualité des couleurs
CONCEPTION DE LA PEINTURE → lumière
EFFET PICTURAL → qualité de la lumière
MATERIALITE DE L’ŒUVRE → couleurs

Quotation

The Ground colour for a Face.


[…], you are to lay a
ground or primer of flesh colour before you begin your work, and that must be tempered according to the complexion of the Face to be drawn, if the complexion be fair, temper white, red lead, and lake, if an hard swarthy complexion, mingle with your white and red a little fine Masticot, or English Ocur, but Note that your ground ought alwayes to be fairer then the Face you take ; for it is a facile matter to darken a light colour, but a difficult to lighten a deep one ; for in Limning you must never heighten, but work them down to their just colour
[…].


The Order of Shadowes for the Face.
{
Shadows} In all your Shadowes, remember to mix some white, (exempli gratia) for the red in the Cheeks, Lips, &c. temper Lake, red Lead ; […] Note that black must not by any means be used in a Face, for other shadowes your own observation must direct you, for it is impossible to give a general Rule for the shadowes in all Faces, unless we could force nature to observe the same method in composing and modelling them, so that one in every punctilio should resemble the other. 

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs

Quotation

Concerning dead colouring.


The
dead colouring of a Face is to be done the roughest and boldest of all ; having drawn your Face with lake and white (as before) you must take to the said colour a little red lead, tempering it to the colour of the Cheeks, Lips, &c. but very faintly, […]. 
{
To begin to Limn.} The first colour to begin the Face with, is the red of the Cheeks and Lips, somewhat strongly the bottome of the Chin, if the party be beardless ; over under and about the Eyes you will perceive a delicate, and faint redness, and underneath the Eyes, inclining to purple colour, which in fair and beautiful Faces is usual, and must be observed ; the tip of the Ear, and the roots of the Hair are commonly of the same colour.
[…].
Note) Be not too curious in your first working, but regard a good bold following of nature, rather then smooth curiosity, the roughness of the colour, you may end at an other sitting.

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs

Quotation

Of Landskip.


{
Landskip.} In drawing Landskip with water colours ever begin with the Skie, and if there be any Sunbeams, do them first. 
{
Purple Clouds.} For the Purple Clouds, only mingle Lake and white.
{
Yellow.} The Sun-beams, Masticot and white.
{
Note 1.} Work your blew Skie with smalt only, or Ultramarine.
{
Note 2.} At your first working dead colour all the piece over, leave nothing uncovered, lay the colour smooth and even.
{
Note 3.} Work the Skie down in the Horizon fainter as you draw near the Earth, except in tempestuous skies, work your further Mountains so that they should seem to be lost in the Air.
{
Note 4.} Your first ground must be of the colour of the Earth and dark ; yellowish, brown, green, the next successively as they loose in their distance must also faint and abate in their colours
{
Note 5.} Beware of perfection at a distance.
{
Note 6.} Ever place light against dark, and dark against light (that is) the only way to extend the prospect far off, is by opposing light to shadows, yet so as ever they must loose their force and vigor in proportion as they remove from the Eye, and the strongest shadow ever nearest hand.

Conceptual field(s)

GENRES PICTURAUX → paysage
MATERIALITE DE L’ŒUVRE → couleurs
CONCEPTION DE LA PEINTURE → couleur

Quotation

Friend,
            When a Painter has acquired any Excellency in
Desinging, readily and strongly ; What has he to do next ?
                        Traveller,
            That is not half his Work, for then he must begin to mannage his
Colours, it being particularly by them, that he is to express the greatness of his Art. ’Tis they that give, as it were, Life and Soul to all that he does ; without them, his Lines will be but Lines that are flat, and without a Body, but the addition of Colours makes that appear round ; and as it were out of the Picture, which else would be plain and dull. ’Tis they that must deceive the Eye, to the degree, to make Flesh appear warm and soft, and to give an Air of Life, so as his Picture may seem almost to Breath and Move. [...] Friend,
            Wherein particularly lies the Art of
Colouring ?
            Traveller.
Beside the Mixture of Colours, such as may answer the Painter’s Aim, it lies in a certain Contention, as I may call it, between the Light and the Shades, which by the means of Colours, are brought to Unite with each other ; and so to give that Roundness to the Figures, which the Italians call Relievo, and for which we have no other Name : In this, if the Shadows are too strong, the Piece is harsh and hard, if too weak, and there be too much Light, ’tis flat. I, for my part, should like a Colouring rather something Brown, but clear, than a bright gay one : But particularly, I think, that those fine Coral Lips, and Cherry Cheeks, are to be Banished, as being far from Flesh and Blood. ’Tis true, the Skins, or Complexions must vary, according to the Age and Sex of the Person ; An Old Woman requiring another Colouring than a fresh Young one. But the Painters must particularly take Care, that there be nothing harsh to offend the Eye, as that neither the Contours, or Out-Lines, be too strongly Terminated, nor the Shadows too hard, nor such Colours placed by one another as do not agree. 
           
Friend,
Is there any Rule for that ?
           
Traveller,
Some Observations there are, as those Figures which are placed on the foremost Ground, or next the Eye, ought to have the greatest Strength, both in their Lights and Shadows, and Cloathed with a lively Drapery ; Observing, that as they lessen by distance, and are behind, to give both the Flesh and the Drapery more faint and obscure Colouring. And this is called an Union in Painting, which makes up an Harmony to the Eye, and causes the Whole to appear one, and not two or three Pictures
.

Conceptual field(s)

CONCEPTION DE LA PEINTURE → couleur
EFFET PICTURAL → qualité des couleurs

Quotation

Friend.
 
            What is properly the Colouring of a Piece of Painting ?
 
                        Traveller.
 
           
It is the Art of employing the Colours proper to the Subject, with a regard to the Lights and Shadows that are incident to the Story, either according to the Truth of it, or to the Painter’s Invention : and out of the Management of these comes all the Strength, Relievo, and Roundness that the Figures have : ’tis hard to give Positive Rules here, it depending much on Practice ; but the most General is, so to manage your Colours, Lights, and Shadows, that the Bodies enlightned may appear by the Opposition of your Shadows ; which by that means may make the Eye rest with Pleasure upon them ; and also, that there be an imperceptible passage from your Shadows to your Lights.
            ’Tis generally observed likewise to make the greatest Light fall upon the middle of the Piece, where the principal Figures ought to be, and to lessen it by degrees towards the sides till it loose it self.
In gentle Shadows, avoid strong Shadowings upon the Naked Members, least the black that is in them seems to be part of the Flesh. But above all, there is a thing called by the Italians, Il degra damento de Colori ; which in English may be termed, The diminishing of Colours : And it consists in making an Union and Concord between the Colours in the formost part of your Piece, and those that are behind, so that they be all of one tenour, and not broke ; and by this means every part corresponds with another in your Picture, and makes up one Harmony to the Eye.
           
As for Face-Painting alone, it is to be manage another way, for there you must do precisely what Nature shows you.
           Tis true, that Beautiful Colours may be employed, but they must be such as make not your Piece like a Picture, rather than like Nature it self ; and particularly, you must observe to express the true Temper as well as the true Phisionomy of the Persoms that are Drawn ; for it would be very absurd to give a Smiling, Airy Countenance to a Melancholly Person ; or, to make a Young, Lively Woman, Heavy and Grave. ’Tis said of Apelles, that he expressed the Countenance and true Air of the Persons he Drew, to so great a degree, that several Physionomists did predict Events upon his Pictures to the Persons Drawn by him, and that with true Success. If after that, you can give your Picture a great Relievo, and make your Colours Represent the true Vivacity of Nature, you have done your Work as to that part of Painting, which is no small one, being, next to History, the most difficult to obtain ; for though there be but little Invention required, yet ‘tis necessary to have a Solid Judgment and Lively Fancy.

Conceptual field(s)

CONCEPTION DE LA PEINTURE → couleur
CONCEPTS ESTHETIQUES → nature, imitation et vrai

Quotation

Chap. VI, Of LANDKSIP.
The bounds and limits of
Landskip are inexpressible, they being as various as fancy is copious ; I will give you only some general Rules for Painting of Landskip, and so conclude this third Book.
In painting of any Landskip always begin with the Sky, the Sun-beams, or lightest parts first ; next the Yellow beams, which compose of Masticote and White ; next your Blew Skies, with Smalt only. At your first colouring leave no part of your ground uncovered ; but lay Your Colours smooth and even all over. Work your Sky downwards towards your Horizon fainter and fainter, as it draws nearer and nearer to the Earth ; you must work your tops of Mountains and objects far remote, so faint that they may appear as lost in the Air : Your lowest and nearest Ground must be of the colour of the earth, of a dark yellowish brown Green, the next lighter Green, and so successively as they lose in their distance, they must abate in their colour. Make nothing that you see at a distance perfect ; as if discerning a Building to be fourteen or fifteen miles off, I know not Church, Castle, House, or the like ; so that in drawing of it you must express no particular sign, as Bell, Portcullis, or the like ; but express it in colours as weakly and faintly as your eye judgeth of it. Ever in your Landskip place light against dark, and dark against light, which is the only way to extend the prospect far off, occasioned by opposing light to shadow ; yet so as the shadows must lose their force in proportion as they remove from the eye, and the strongest shadow must always be nearest hand.

Conceptual field(s)

GENRES PICTURAUX → paysage
CONCEPTION DE LA PEINTURE → couleur
EFFET PICTURAL → perspective

Quotation

How to Cleanse an Old Painting, so as to preserve the Colours ; with cautions to those that through ignorance have in stead of Cleansing, quite Defaced or irrecoverably lost the Beauty of good colours in an Old piece of Painting.

To Cleanse any very old Picture in Oyl.
Take your purest white Wood-ashes you can get, and sift them very well in a fine lawn sieve ; or else some Smalt, which is as some call it Powder blew, and with a fine Spunge and fair water wash the Picture you intend gently over, but be sure you have a great care of the Shadows ; for by the ignorance of many persons many good Picture hath been abused ; but having carefully wash’d it, as before mentioned, take some of these Vernishes, of which there be several, but some are more prejudicial than others, therefore chuse those which may upon occasion be wash’d off again
As Gum-water purely strain’d, or pure Size-gelly, or the whites of Eggs well beaten ; all these will wash off.
Your common Vernish will vernish over any very dark part of a Picture.
But your distill’d Vernish is the best of all ; this will not wash off.
But observe, that when you have wash’d the Picture, you must dry it very well with a clean cloth very dry before you varnish it.
Divers there be which have pretended to be well skill’d or knowing in the Cleansing of Pictures, and skill in Painting ; and have undertaken the spoyling of things they have been unworthy to understand ; as with Sope, or Ashes, and a Brush, and divers other inventions, by their ignorance to deface and spoyl those things which otherwise might have been worth great value, and in stead of hindering the Painter of his employment, have indeed created them new work.

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs

Quotation

1. Sap-green is only used to shadow other Greens, and not to be laid for a ground in any Garment.
2. Lake must not be shadowed with any colour, for it is a dark Red ; but for variety you may shadow it sometimes with Bise, or blew Verditer ; which will make it shew like changeable Taffata.
3. Blew Verditer is shadowed with thin Indico.
4. Blew Bise is shadowed with Indico in the darkest colours ; Yellow-berries, the natural shadow for it is Umber, but for beauties sake it is seldom shadowed with Umber, but with Red-Lead ; the darkest touches with
Spanish Brown ; and for varieties sake it’s shadowed with Copper-geen thick, and with blew Bise, or blew Verditer.

What Colours sets off best together.
1. Whites are very useful in all Colours, and sets off Black and Blew very well ; but Blacks are not much used, but upon necessary occasions in some things, as you judgement shall direct you.
2. Reds sets off well with Yellows.
3. Yellows sets off well with Reds, sad Blews Greens, Browns, Purples.
4. Blews sets off well with Reds, Yellows, Whites, Browns, and Blacks ; but Blews set not off well with Greens and Purples.
5. But Greens sets off well with Purples and Reds.

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs

Quotation

After you have attain’d to a Mastership in Draught, [...] ; you may begin the great Mistery of Colouring. [...] First Practise your Hand in Boylt Plate, not Burnish’d, and other things of fewest Colours, then Fruits, Flowers, &c. [...].
            Observe in things which require a strong
Yellow as Peaches &c. that although you may obtain much of that Colour, with White, Pink and Vermilion, yet you must use only Masticots, as being of more Force.
[...].
When you have attain’d to a good Knowledge in the Mistery of
Colouring, by Copying after many things in the Stillife that have the greatest variety of Colours, so that at first sight you can perceive most of the Colours in a Picture, and Judge when they are Compounded, you may adventure on the Profoundest part of the Science viz Painting of a Face.

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs

Quotation

Cap. XXIX, The way of Painting a Face.
For a Clear and Beautiful Complection, lay on your Pallat and Temper them by themselves (cleaning your Pallat well after each Colour) these following Colours. [...].
            As for Colour in
Draperys, though some have (absurdly) layd down Certain rules for all Colours, it is a thing impossible to do, by reason the same Colours from divers dispositions of Lights and Reflections, have various Tinktures : nor need the Practisioner be concern’d about it, for when he can once apprehend all the Colours in the Face, he may with great Facility mix all Colours for the more difficult Drapery, even from Nature it self.

Conceptual field(s)

GENRES PICTURAUX → portrait
CONCEPTION DE LA PEINTURE → couleur
MATERIALITE DE L’ŒUVRE → couleurs

Quotation

But in works finish’d to be seen near at Hand, you must apply each Colour properly in its place, sweetning with a light Hand all their Extremitys, without Tormenting or Fretting them, that their Purity may be preserv’d.

Conceptual field(s)

MANIÈRE ET STYLE → le faire et la main

Quotation

Neatness, and high Finishing ; a Light, Bold Pencil ; Gay, and Vivid Colours, Warm, and Sombrous ; Force, and Tenderness, All these are Excellencies when judiciously employd, and in Subserviency to the Principal End of the Art ; But they are Beauties of an Inferior Kind even when So employd ; they are the Mechanick Parts of Painting, and require no more Genius, or Capacity, than is necessary to, and frequently seen in Ordinary Workmen ; […] ; These properties are in Painting, as Language, Rhime, and Numbers are in Poetry ; and as he that stops at These as at what Constitutes the Goodness of a Poem is a Bad Critick, He is an Ill Connoisseur who has the same Consideration for these Inferious Excellencies in a Picture.

Contrairement aux autres passages de l'Essay on the Theory of Painting, la préface n'est pas traduite dans l'édition française de 1728.

Conceptual field(s)

EFFET PICTURAL → qualité des couleurs

Quotation

He [ndr : un peintre] must not only have a nice Judgment to distinguish betwixt things nearly Resembling one another, but not the same […], but he must moreover have the same Delicacy in his Eyes to judge of the Tincts of Colours which are of infinite Variety ;

Conceptual field(s)

L’ARTISTE → qualités

Quotation

As the Tout-ensemble of a Picture must be Beautiful in its Masses, so must it be as to its Colours. And as what is Principal must be (Generally speaking) the most Conspicuous, the Predominant Colours of That should be diffus’d throughout the Whole. This Rafaëlle has observ’d remarkably in the Carton of S. Paul Preaching ; His Drapery is Red, and Green, and These Colours are scatterr’d every where ; but Judiciously ; for Subordinate Colours as well as Subordinate Lights serve to Soften, and Support the Principal ones, which Otherwise would appear as Spots, and consequently be Offensive.

Conceptual field(s)

CONCEPTION DE LA PEINTURE → couleur

Quotation

The Colours must be also Contrasted, and Oppos’d, so as to be grateful to the Eye : There must not (for example) be two Draperies in one Picture of the same Colour, and Strength, unless they are contiguous, and then they are but as one. If there be two Reds, Blews, or whatever other Colour, One must be of a Darker, or Paler Tinct, or be some way Varied by Lights, Shadows, of Reflections. Rafaëlle, and others have made great Advantage of Changeable Silks to unite the Contrasting Colours, as well as to make a part of the Contrast themselves. As in the Carton of Giving the Keys, the Apostle that stands in Profile, and immediately behind S. John, has a Yellow Garment with Red Sleeves, which connects that Figure with S. Peter, and S. John, whose Draperies are of the same Species of Colours. Then the same Anonymous Apostle has a loose changeable Drapery, the Lights of which are a Mixture of Red, and Yellow, the other Parts are Bluish. This Unites it self with the Other Colours already mentioned, and with the Blew Drapery of another Apostle which follows afterwards ; between which, and the changeable Silk is a Yellow Drapery something different from the other Yellows, but with Shadows bearing upon the Purple, as those of the Yellow Drapery of S. Peter incline to the Red : All which, together with several other Particulars, produce a wonderful Harmony.

Conceptual field(s)

CONCEPTION DE LA PEINTURE → couleur

Quotation

COLOURING
COLOURS are to the Eye what Sounds are to the Ear, Tastes to the Palate, or any other Objects of our Senses are to those Senses ; and accordingly an Eye that is delicate takes in proportionable Pleasure from Beautiful ones, and is as much Offended with their Contraries. Good Colouring therefore in a Picture is of Consequence, not only as it is a truer Representation of Nature, where every thing is Beautiful in its Kind, but as administring a considerable Degree of Pleasure to the Sense.
The Colouring of a Picture must be varied according to the Subject, the Time, and Place.
If the Subject be Grave, Melancholy, or Terrible, the General Tinct of the Colouring must incline to Brown, Black, or Red, and Gloomy ; but be Gay, and Pleasant in Subjects of Joy and Triumph. […]. Morning, Noon, Evening, Night ; Sunshine, Wet, or Cloudy Weather, influences the Colours of things ; and if the Scene of the Picture be a Room, open Air, the partly open, and partly inclos’d, or Colouring must be accordingly.

Conceptual field(s)

CONCEPTION DE LA PEINTURE → couleur
CONCEPTS ESTHETIQUES → convenance, bienséance

Quotation

Any of the several Species of Colours may be as Beautiful in their Kinds as the others, but one Kind is more so than another, as having more Variety, and consisting of Colours more pleasing in their own Nature ; in which, and the Harmony, and Agreement of one Tinct with another, the Goodness of Colouring consists.
To shew the Beauty of Variety I will instance in a
Geldër Rose, which is White ; but having many Leaves one under another, and lying hollow so as to be seen through in some places, which occasions several Tincts of Light, and Shadow ; and together with these some of the Leaves having a Greenish Tinct, all together produces that Variety which gives a Beauty not to be found in this Paper, tho’ ‘tis White, nor in the inside of an Egg-shell tho’ whiter, nor in any other White Object that has not that Variety.

Conceptual field(s)

CONCEPTION DE LA PEINTURE → couleur

Quotation

But ‘tis not enough that the Colours in themselves are Beautiful singly, and that there be Variety, They must be set by one another so as to be mutually assistant to each other ; and this not only in the Object painted, but in the Ground, and whatsoever comes into the Composition ; so as that every Part, and the Whole together may have a pleasing effect to the Eye ; such a Harmony to It as a good piece of Musick has to the Ear ; But for which no certain Rules can be given no more than for that : Except in some few General Cases which are very Obvious, and need not therefore be mention’d here.

Conceptual field(s)

CONCEPTION DE LA PEINTURE → couleur

Quotation

And here I take the Sublime to be the Greatest, and most Beautiful Ideas, whether Corporeal, or not, convey’d to us the most Advantageously.
By Beauty I do not mean that of Form, or Colour, Copy’d from what the Painter sees ; These being never so well Imitated, I take not to be Sublime, because These require little more than an Eye, and Hand, and Practice. An Exalted Idea of Colour in a Humane Face, or Figure might be judg’d to be Sublime, could That be had, and convey’d to Us, as I think it cannot, since even Nature has not yet been Equall’d by the best Colourists ; Here she keeps Art at a Distance whetever Courtship it has made to her.

Conceptual field(s)

CONCEPTS ESTHETIQUES → merveilleux et sublime

Quotation

THE next Step they advanced was by the Invention of Cleanthes and Thelephanes, who super-added some Finishing within, and filled their Out-Lines with one Colour, which was only a Piece of Red Potsheard, pounded and fine ground ; First found out, and, as some affirm, us’d by Callias the Athenian.

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs

Quotation

[…] he [ndr : Ludovicus Demontiosius ou Jean de Monjosieu] labours to convince us in the Truth of, he distinguishes all the Colours in a Picture in reference to the different Modification of Light upon Bodies, into three Sorts, or rather Degrees, Light, Splendor and Shadow ; in the Light the Colour is Deluted, in the Shadow Saturated, and in the Splendor only the Species of the Colour is truly discern’d ; this Splendor he calls also the Tone, carrying so near an Analogy with the Sence of it in Musick, where it comprehends the Phthonge, the Intervals, the Place of the Voice, and the Tenor ; all which he applies to the Meaning of this Splendor, or Tone in Painting : To these three foregoing Degrees of Colour, he adds a fourth Thing incident, call’d the Harmoge, which is the Commixture, or the curious and insensible Transition of the three Degrees of Colours ; and this, in the Opinion of our Author, is the Interpretation of the famous Contest about the Scissure and Intersection of Lines ; of which, when Apelles had given a Specimen, and Protogenes had seem it, Artem agnovit sed negligentiam Artificis notavit, and therefore took another Pencil, and what was left somewhat too hard and unpleasant in the Union of the Colours, he corrected and made more tender, ‘till Apelles again returning by the Interposition of another Colour, gave it such a Finishing, as left no Place for any further Attempt.

Conceptual field(s)

CONCEPTION DE LA PEINTURE → couleur
CONCEPTION DE LA PEINTURE → lumière