LIGHT AND SHADE (expr.)
AGLIONBY, William, Painting Illustrated in Three Diallogues. Containing some Choice Observations upon the Art. Together with The Lives of the Most Eminent Painters From Cimabue, to the time of Raphael and Michael Angelo. With an Explanation of the Difficult Terms, London, John Gain, 1685.1 quotations
Wherein particularly lies the Art of Colouring ?
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 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.
Is there any Rule for that ?
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.