To be thoroughly understood, this book must not merelyīe read but studied. Writers ^ has resulted their own and their readers' By others^ again, the ^^ law " has beenĪdopted without comprehension, and from the foolishĪttempt to ally it with the dogmatism of unscientific Verified, induced them to treat this ^^ law " slightingly, asĪ thing of nought. Have rushed to impossible conclusions, which, not being Maxim '^ that a little knowledge is a dangerous thing " forĪfter superficially examining M. Others have added new testimony to the truth of the They, with so much complacency^ suppose themselves to While this organ is excited by the sight of colours, - inįact, without at all understanding the nature of the subject Without regarding the physiological condition of the eye Resulting from the juxtaposition of coloured bodies. Rational observation or experiment on the optical efiPects These " laws " are really based - without making a single Recognising the existence of the phenomena upon which Upon the " Laws of Harmonious Colouring " without even Usurped the place in our literature which this work only Value whatever, some indeed pernicious from their errorsĪnd obscurity, have issued from the English press, and Have become known in this country, works of no practical Long subsequent to its publication in France,Īfter ample time had elapsed for M. The scientific character and practical value like the present Have remained so long in a state of chaos, while a work of Subject of ** the Harmony and Conti^ast of Colours " should May, indeed, be regarded as a national reproach that this The rapid sale of the first edition of this translation satis-įactorily proves how much such a work was needed. IN TESTIMONY OF ADMIRATION FOB HIS WOBKS ! IN TBSTIMONT OF FRIENDSHIP AND OF PnOFOCND ESTEEM Is equally and indispensably necessary to the connoisseur." To assert, that whatever speculative knowledge is necessary to the artist, Were to be determined by unguided fancy and indeed we may venture The arts would lie open for ever to caprice and casualty, if those whoĪre to judge of their excellencies had no settled principles by which theyĪre to regulate their decisions and the merit or defect of performances.Low, the barren, the grovelling, the servile imitator." Imaginary dignity is naturally heightened by a supercilious censure of the Praise which men, who do not much think on what they are saying,īestow sometimes upon others, and sometimes on themselves and their "To derive all from native power, to owe nothing to another, is the It was Chevreul who led the Impressionists to grasp that they should apply separate brushstrokes of pure color to a canvas and allow the viewer’s eye to combine them optically. Inspired by Chevreul’s 1839 treatise, Delacroix passed his enthusiasm on to the young artists who were inspired by him. The French painter Eugène Delacroix, who had been experimenting with what he called broken tones, embraced Chevreul's book, with its explanations of how juxtaposed colors can enhance or diminish each other, and his exploration of all the visible colors of the spectrum. The Law of Contrast of Color (1839) is a book by Michel Eugène Chevreul, a French chemist who, hired as director of dyes at a French tapestry works, began to investigate the optical nature of color in order to improve color in fabrics.Ĭhevreul realized It was the eye, and not the dye, that had the greatest influence on color, and from this, he revolutionized color theory by grasping what came to be called the law of simultaneous contrast: that colors mutually influence one another when juxtaposed, each imposing its own complementary color on the other.
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