COLOURS (OF THE PAINTING IN OIL)

COLOURS (OF THE PAINTING IN OIL) (n.)

COLOUR · COLOUR (CHROMATIC) · OIL · PAINTING IN OIL

COULEURS (DE LA PEINTURE À HUILE) (fra.) · ÖLFARBE (deu.)

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LINKED QUOTATIONS

2 sources

3 quotations

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

Dialogues About Painting : Between a Traveller and his Friend, p. 27

Quotation

Traveller,
The Secret of Oyl Painting, consists in using Colours that are Ground with Oyl of Nut, or Linseed, and with these you paint upon a Cloth, which has first been primed with drying Colours, such as Cerus, Red Oaker, and Ombre, mingled together. This manner of painting, makes the Colours show more Lively than any other, and seems to give your Picture more Vivacity and Softness.

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs

MATERIALITE DE L’ŒUVRE → technique de la peinture

EFFET PICTURAL → qualité des couleurs

SALMON, William, Polygraphice, Or The Art of Drawing, Engraving, Etching, Limning, Painting, Washing, Varnishing, Colouring and Dying. In three Books. I. Shews the Drawing of Men, and other Animal Creatures, Landskips, Countries, and Figures of Various Forms. II. The way of Engraving, Etching and Limning, with all their Requisits and Ornaments. III. The way of Painting, Washing, Varnishing, Colouring, and Dying, according to the Method of the best Authors now Extant. Exemplified in the Painting of the Antients, Washing of Maps, Globes, or Pictures ; Dying of Cloth, Silks, Bones, Wood, Glass, Stones and Metals : together with the way of Varnishing thereof according to any Purpose or Intent. The Like never yet Extant. By W. S. a Lover of Art, London, E.T. and R.H., 1672.

2 quotations

Liber Tertius, Of Painting, Washing, Colouring, Dying and Varnishing, CHAP. II, Of the Colours in General, p. 167-168

Quotation

CHAP. II. Of the Colours in General.
I. The chief Whites for painting in oyl are, White lead, Ceruse, and Spodium.
II. The chief Blacks are, Lamp black, Seacoal black, Ivory black, Charcoal, and earth of Colen.
III. The chief Reds are, Vermilion, Sinaper lake, Red lead, Indian Red, Ornotto.
IV. The chief Greens are, Verdigriese, Terra vert, Verditer.
V. The chief Yellows are, Pink, Masticote, English Oker, Spruse Oker, Orpiment.
VI. The chief Blews are, blew Bice, Indico, Ultramarine, Smalt.
VII. The chief Browns are, Spanish brown, Burnt Spruce, Umber.
[...].

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs

MATERIALITE DE L’ŒUVRE → technique de la peinture

Liber Tertius, Of Painting, Washing, Colouring, Dying and Varnishing, CHAP. IV, Of Colours for Velvet - Chap. IX, Of Colours for Landskip, p. 171-181

Quotation

CHAP. IV. Of Colours for Velvet.
[...].

CHAP. V. Of colours for Sattins.
[...].

CHAP. VI. Of Colours for Taffatie, Cloth and Leather.
[...].

CHAP. VII. Of Colours for Garments in general.
[...].

CHAP. IV. Colours for metals and precious stones.
[...].

CHAP. IX. Of Colours for Landskip.
I. For a light Green, use pink and masticot heightned with wihte : for a sad green, Indico and Pink heightned with masticot.
II. [...].

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs

MATERIALITE DE L’ŒUVRE → technique de la peinture