FLESH COLOUR

FLESH COLOUR (n.)

CONCEPTION DE LA PEINTUREcouleur
L’HISTOIRE ET LA FIGUREfigure et corps
EFFET PICTURALqualité des couleurs
GENRES PICTURAUXportrait
MATERIALITE DE L’ŒUVREcouleurs
CARNE (ita.) · CHAIR (fra.) · LEIBFARBE (deu.)
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.

FILTERS

CONCEPTUAL FIELDS

LINKED QUOTATIONS

4 sources
7 quotations

Quotation

A Carnation, or Flesh-colour.
First you must lay on a white colour tempered with gumme-water, and when it is drie you must go it over againe with Vermilion or lake, or else you must temper ceruse and vermilleon together, and being dry, go over it againe with lake or vermillion.

carnation

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs

Quotation

After you have made the white of the Eyes, and proportion of the Nose, &c. lay your Carnation or Flesh colour over the Face, casting in here and there some shadowes, which work in with the flesh colour by degrees. Your flesh-colour is commonly compounded of white lead, lake, and vermilion ; but you may heighthen or deepen it at your pleasure.

carnation

Conceptual field(s)

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

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)

GENRES PICTURAUX → portrait
MATERIALITE DE L’ŒUVRE → couleurs

Quotation

The manner of Laying the Ground Flesh-colour for a Face to be wrought upon with Cryons.


The best way is to colour the Paper that you intend to Draw on with a Carnatian or Flesh-colour, near the Complexion on the Party you intend to draw after ; […]. And because many times the Pastils will not sharpen to so good a point as Black or Red Chalk, you must be extremely careful to close and finish all your Work at last with Red and Black Chalk, which you may sharpen at your pleasure. I shall not need to insist upon particulars of this manner of Drawing, but if you please to take a view of that Book of Pictures, which are all drawn by the Life, by the Incomparable Hand of Hans Holbean, […] you will find something in those Ruines an Admirable Hand and Rare Manner of Working ; who with few Lines and little Labour expressed the Life so Extraordinarily well, that by many they are esteemed not much Inferiour to his Admirable Works in Oyl.

carnation

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs
L’HISTOIRE ET LA FIGURE → figure et corps

Quotation

5. Have a pretty quantity of Carnation (as some call it) or Flesh-colour, somewhat lighter than the Complexion of the party your are to draw, tempered up in a shell by it self with a weak Gum-water. If it be a Fair complexion, White-lead and Red-lead mixed. If a Swarthie or Brown complexion, to your White and Red-lead add a quantity of Masticote, or English-Oker, or both if occasion be. But whatever the Complexion be, be sure you temper your Flesh-colour lighter than the party ; for by often working upon it you may bring it to its true colour, it being first too light ; but if it be first too sad, there then is no remedy.

Carnation

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs

Quotation

12. A Flesh-colour.
Take of White and a little Lake, and some Red-Lead mixed, you may make it light or red as you please, by adding more or less White in shadowing the Cheeks and other places, if you would have a swarthy complexion : and to distinguish the Mans flesh from the Womans, mingle a little yellow Oker among your Flesh.

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs