Samuel Palmer; A Memoir (Paperback)

This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated.1882 Excerpt: ... vermilion, and the madders. The transmitting greens will be touched with transparent green over the yellows; and thus in the unity of one transparent golden glow, may be many varieties.' Again: --'Sun shining through leaves towards sunset. Perhaps the most splendid yellow, which is the ground of the subsequent tints, is produced by raw sienna over yellow cadmium; over these, again (for autumn tints), come first the scarlets, then the reds, then the pinks--generally in that order, somewhat darker and darker. The things which by contrast enforce the splendour, are the semi-contrast of the transmitting greens, the contrast of the holes of dark, dark tree stems and branches, and particularly the opposite position of foliage in shadow, receiving a faint, coldish light on the shadowed side behind the spectator, or, as we might say, from the blue sky. Note--When there are portions of pure sunlight, mirrored by polished leaves, leave the paper white, if possible; if not, cut them out afterwards (not deeply) with a very sharp knife.' This last was a frequent practice of Samuel Palmer's, when he wished to get small glints and sparkles of great brilliancy. The colours, such as Field's extract of vermilion, the cadmiums, and the madders, which were used in small quantities for the brightest passages, were kept in cakes in a little box apart, and labelled 'Eyebrights;' and the greatest care was taken to prevent them from becoming sullied by dust or otherwise. 'To know what to omit, ' said Samuel Palmer, 'is the second most important thing in art.' It is unnecessary to point out many works where this judicious omission of matter--where some broad shadow, allowed to cast a veil over a portion of the middle distance or foreground, and thus to render it indefinite, has secure.