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Author : George Field
Publisher : Unknown
Page : 458 pages
File Size : 42,5 Mb
Release : 1841
Category : Artists' materials
ISBN : OXFORD:600025021
Author : George Field
Publisher : Unknown
Page : 310 pages
File Size : 54,7 Mb
Release : 1835
Category : Color
ISBN : DMM:057001250750
Author : George Field
Publisher : Unknown
Page : 0 pages
File Size : 54,9 Mb
Release : 1835
Category : Color
ISBN : LCCN:12023613
Author : George Field
Publisher : Unknown
Page : 424 pages
File Size : 53,8 Mb
Release : 1841
Category : Color
ISBN : OCLC:316927721
Author : Anonim
Publisher : Unknown
Page : 424 pages
File Size : 54,6 Mb
Release : 1845
Category : Colors
ISBN : OCLC:1015766602
Author : George Field
Publisher : Unknown
Page : 454 pages
File Size : 46,6 Mb
Release : 1841
Category : Electronic
ISBN : BL:A0024581206
Author : George Field
Publisher : Unknown
Page : 424 pages
File Size : 45,8 Mb
Release : 1840
Category : Color
ISBN : OCLC:261232828
Author : Field George
Publisher : Unknown
Page : 128 pages
File Size : 53,7 Mb
Release : 2019
Category : Electronic
ISBN : 0259639176
Author : George Field
Publisher : Unknown
Page : 90 pages
File Size : 43,6 Mb
Release : 2019-09-25
Category : Art
ISBN : 1789871182
Chromatography is the study of colors and pigments; this book is designed to guide painters, artists and others to the classification and theory behind colors. Celebrated for years after its release, Field's Chromatography has been used by thousands of professional painters, artists and others for its concise guidance. We receive a brisk but precise description of light's relationship to color, the theory of color, and how colors are categorized and referred to. The various methods of creating pleasant or eye-catching contrasts between different hues are likewise identified. The second part of the book concerns pigments; a type of powder which, when mixed with a medium, produces a color. How the properties of a given pigment are categorized, and how advances in chemistry have resulted in refinements and enhancements to the range of pigments available to the artist, is discussed. The latter part of the book is comprised of a list of the different colors, each of which is duly described for its appearance. Finally, there is a series of tables that arrange pigments according to their qualities. While the materials used in the creation of various pigments differ in the modern day, Field's descriptions remain useful in the context of art history.
Author : George Field
Publisher : Scholar's Choice
Page : 306 pages
File Size : 46,5 Mb
Release : 2015-02-19
Category : Electronic
ISBN : 1297275381
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Author : George Field
Publisher : Unknown
Page : 0 pages
File Size : 50,6 Mb
Release : 1869
Category : Color
ISBN : OCLC:1313710378
Author : George 1777?-1854 Field
Publisher : Unknown
Page : 310 pages
File Size : 43,8 Mb
Release : 2016-09-10
Category : History
ISBN : 1360823905
Author : George Field
Publisher : Unknown
Page : 304 pages
File Size : 48,6 Mb
Release : 2016-06-16
Category : Art
ISBN : 1332605664
Excerpt from Chromatography or a Treatise on Colours and Pigments, and of Their Powers in Painting The progress of the Art of Painting under the happy auspices of this favoured country, the refinement of taste which it has so universally diffused, and the predilection which prevails for its study and practice as a necessary branch of polite education, render acceptable whatever can facilitate the acquisition, or advance the ends, of this useful, elegant, and enlightening accomplishment. Nor are the concerns of this art uninteresting in a still higher view, since whatever refines the taste, enhances the powers and improves the disposition and morals of a people, - and whatever improves the morals, promotes the happiness of man, individual and social. Hence the high moral and political value of this art, to say nothing of its commer cial and religious uses, upon which so much stress has been justly laid. Among the means essential to proficiency in Painting, none is more important than a just knowledge of Colours and Pigments - their qualities, powers, and effects; and there is none to which the press has hitherto afforded fewer helps. There have appeared, it is true, at different times. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
Author : George Field
Publisher : Unknown
Page : 286 pages
File Size : 49,6 Mb
Release : 2020-06-26
Category : Electronic
ISBN : 9798656555234
How early, and to what extent, colouring may have attained the rank of science among the ancients, are questions not easily set at rest; but that some progress had been made, even at a very remote period, is proved by the magnificent tombs of the Egyptian kings at Thebes, where the walls of the royal mausoleum are described as being covered with paintings so fresh and perfect, as to require neither restoration nor improvement. So far from this, indeed, that with all care in copying, it was difficult to equal the brilliancy of the originals, which, as far as colours went, threw all others in the background. And yet, in spite of the scale having comprised pure vermilion, ochres, and indigo, it was not gaudy, owing to the judicious balance of the colours, and the artful management of the black. Nor was there an ornament throughout the dresses, wherein the red, yellow, and blue, were not so employed as to produce a delicious harmony.Moreover, it is stated that in one painting eighty feet high and proportionably broad, which was divided into two ranges of gigantic figures, these were glowing with most exquisite colours, suited to the drapery and naked parts; and in which the azure, yellow, green, &c., were as well preserved as though they had been laid on yesterday. Again, an apartment was discovered among the stupendous ruins at Carnac, on the site of ancient Thebes, one hundred paces wide and sixty deep, completely crowded with pillars, which, together with the ceiling, roof, and walls, were decorated with figures in basso-relievo, and hieroglyphics-all marvellously beautiful and finely painted, and as fresh, splendid and glorious, after so many ages, as if they had just been finished.In various accounts these colourings of the Egyptians are described in the warmest terms of admiration. The most charming are undoubtedly those on the tombs and temples: others of less merit have been found on the cases and cloths of mummies, and on papyrus rolls; but it is to the patterns on the walls and ceilings of their houses that they seem to have been most partial, and paid the most attention. The ordinary colours employed by them were red, yellow, green, and blue. Of the last there were two tints; black also was common. For white, the finely prepared stone-coloured ground was deemed sufficient. These colours were occasionally modified by mixture with chalk; but were always, or nearly always, applied singly, in an unmixed state. With regard to their composition, chemical analysis has shown several of the blues to be oxide of copper with a small proportion of iron; none containing cobalt. There is little doubt, however, that the most brilliant specimens-those which retain all their original force and beauty in the temples of Upper Egypt after an exposure of three thousand years, consist of ultramarine-the celebrated Armenian blue, possibly, of the ancients. The reds seem for the most part to be composed of oxide of iron mixed with lime, and were probably limited to iron earths and ochres, with a native cinnabar or vermilion. The yellows are said to have been, in many cases, vegetable colours; but it is likely earths and ochres were their chief source. The greens consist of yellow mixed with copper blue. The bluish-green which sometimes appears on Egyptian antiquities, is merely a faded blue. The blacks are both of vegetable and mineral origin, having been obtained from a variety of substances in a variety of ways.
Author : George Field
Publisher : Unknown
Page : 286 pages
File Size : 51,7 Mb
Release : 2020-06-26
Category : Electronic
ISBN : 9798656555227
How early, and to what extent, colouring may have attained the rank of science among the ancients, are questions not easily set at rest; but that some progress had been made, even at a very remote period, is proved by the magnificent tombs of the Egyptian kings at Thebes, where the walls of the royal mausoleum are described as being covered with paintings so fresh and perfect, as to require neither restoration nor improvement. So far from this, indeed, that with all care in copying, it was difficult to equal the brilliancy of the originals, which, as far as colours went, threw all others in the background. And yet, in spite of the scale having comprised pure vermilion, ochres, and indigo, it was not gaudy, owing to the judicious balance of the colours, and the artful management of the black. Nor was there an ornament throughout the dresses, wherein the red, yellow, and blue, were not so employed as to produce a delicious harmony.Moreover, it is stated that in one painting eighty feet high and proportionably broad, which was divided into two ranges of gigantic figures, these were glowing with most exquisite colours, suited to the drapery and naked parts; and in which the azure, yellow, green, &c., were as well preserved as though they had been laid on yesterday. Again, an apartment was discovered among the stupendous ruins at Carnac, on the site of ancient Thebes, one hundred paces wide and sixty deep, completely crowded with pillars, which, together with the ceiling, roof, and walls, were decorated with figures in basso-relievo, and hieroglyphics-all marvellously beautiful and finely painted, and as fresh, splendid and glorious, after so many ages, as if they had just been finished.In various accounts these colourings of the Egyptians are described in the warmest terms of admiration. The most charming are undoubtedly those on the tombs and temples: others of less merit have been found on the cases and cloths of mummies, and on papyrus rolls; but it is to the patterns on the walls and ceilings of their houses that they seem to have been most partial, and paid the most attention. The ordinary colours employed by them were red, yellow, green, and blue. Of the last there were two tints; black also was common. For white, the finely prepared stone-coloured ground was deemed sufficient. These colours were occasionally modified by mixture with chalk; but were always, or nearly always, applied singly, in an unmixed state. With regard to their composition, chemical analysis has shown several of the blues to be oxide of copper with a small proportion of iron; none containing cobalt. There is little doubt, however, that the most brilliant specimens-those which retain all their original force and beauty in the temples of Upper Egypt after an exposure of three thousand years, consist of ultramarine-the celebrated Armenian blue, possibly, of the ancients. The reds seem for the most part to be composed of oxide of iron mixed with lime, and were probably limited to iron earths and ochres, with a native cinnabar or vermilion. The yellows are said to have been, in many cases, vegetable colours; but it is likely earths and ochres were their chief source. The greens consist of yellow mixed with copper blue. The bluish-green which sometimes appears on Egyptian antiquities, is merely a faded blue. The blacks are both of vegetable and mineral origin, having been obtained from a variety of substances in a variety of ways.
