Theory of Color combination to House Painting

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Theory of Color combination to House Painting

( Continue from previous Article Ornamenting with Colors of House Painting )

Design of work must not be entrusted to eyes which see not, nor its execution to unskilled hands.  To produce good results, even in so small a matter as the coloring of a sleeping room, requires the pencil of an artist just as certainly as did those productions of the great masters, Titian and Tin-toret,  which enchant the world.   But let us not forget that these same colors, so powerful for good, are not impotent for evil ; and that we may,”  according- as we build,” from our painted ceiling, call down curses as from the brow of Ebal, rather than blessings from the heights of Gerizim.

Exaggerated outlines, fanciful drawings, wreaths, flowers, vines, and all imitations of natural objects, must be strictly avoided.   The figures must be purely conventional, and so severely simple that they can not, by the aid of a dis tempered fancy, take on shapes either grotesque or horrible, thereby converting our sick-room into a ” chamber of horrors.” Faces, portraits, Cupids, nor dancing-girls, should look down upon us from ceilings in domestic architecture. They are as much out of place there as they would be on the carpet : they are certain to be upside down, or standing on their heads, when we view them, and a sick person has not strength of mind sufficient to set them right.

Theory of Color combination to House Painting : lines,curves,shadings contrasts,Design of work and More Interesting info about Color and Painting.

Theory of Color combination to House Painting

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Bouquets, vines, and other imitations of natural objects, are not good, because they cease to interest when they cease to be objects of wonder or curiosity.   However beautiful at first sight, they are in the nature of things inferior to the objects they are intended to imitate, and, what is of most importance, entirely out of place.

There can be no sentiment in a painted bunch of flowers on a ceiling, however faultless the drawing and coloring may be ; and such objects soon become matters of indifference or disgust.   On the contrary, purely conventional designs and .figures the same being artistically drawn, and kept subservient to the main object, which is the display of colors always present themselves with a fresh charm, and seem never to lose their attractiveness.

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In tracing the lines and curves, the shadings and contrasts, the mind finds agreeable and pleasant occupation when by sickness it is deprived of its usual resources.  It will hardly be claimed by the most enthusiastic devotee of realistic art that the copying of natural objects or imitations of nature gives room for play of the imagination, or that such art has the remotest connection with inspiration.   No work of art can move the beholder with any sentiment which did not necessarily belong to its conception or production.

None will deny that the drawing of purely conventional forms and figures affords good scope for the imagination, and for the display of true artistic taste. Therefore, the artist who, with real artistic fervor, changes the dead level of a plain white ceiling into a ” thing of beauty,” is practicing art in the better sense of the word, and is reaching out toward its highest significance.

This digression is made as a protest against the growing disposition of the times, which seems to be to elevate horse painting and cow-painting above art as practiced by the masters above named.   Landscape and cattle painting, and flower and insect painting, and rabbits and rats and Guinea pigs and ducks and ,ducklings, and chanticleer with all his cackling harem, though given on canvas more natural than life, only serve to show how expert and skillful men may become in copying natural forms and imitating natural objects. Talent of this kind of a high order is certainly respectable, and such a display of skill is truly wonderful ; but the practice of it does not necessarily include inspiration, invention, or genius, without which fine art can not be said to exist.

Theory of Color combination to House Painting  Article Source : This article courtesy should goes to House Painting Carriage Painting and Graining by John W Masury.

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