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Excerpt from Tone Relations in Painting On each of the vertical lines in the R0 triangle shown in fig. 8 there is uniformity of Intensity. There is uniformity of Value on each of the horizontal lines. 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.

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Harvard lecturer of design Denman Waldo Ross discusses the attributes, temperature and tone of the colors, in a manner comprehensive to amateur and professional painters alike. A superb introductory text to color theory and art methodology, The Painter's Palette consists of brief yet salient information, presented alongside illustrative charts. The quantity and quality of the light present in each color is crucial to artists seeking to imbue a work with a certain mood or ambiance, or create phenomena such as shadows or rays of light being upon certain objects. Ross classifies and scales the colors with a simple, effective system whose utility cannot be doubted. Together with his educational books on art theory and composition, Ross worked as a lecturer and later as professor of art in Harvard University. His interests ranged through the history of art, such that he was appointed as trustee of the Museum of Fine Arts in Boston. Although he died in 1935, Ross's works remain both relevant and useful to artists in the modern day: his incisive style is suitable as a qualitative supplemental reference for amateurs, students, and the experienced.

Interestingly, Denman Waldo Ross earned his doctorate in political economy from Harvard University, but soon after became interested in art soon after. It could be said he was a renaissance man in the sense that he transitioned so beautifully from one study to the other, setting upon lecturing on design and art in 1889 with the Museum of Fine Arts, Boston, and the newly acquired Oriental Art department for his teachings. He travelled in search of art for his own private collections, and became a member of the Bostonian elite circle of the arts and creatives. Some of his students he lectured at Harvard went on to become prominent artists. His book "The Painter's Palette" is a sort of textbook to these elitists for understanding the analysis of temperatures, values, and colors as well as color temp to instruct on the nuances of painting within tone.

Interestingly, Denman Waldo Ross earned his doctorate in political economy from Harvard University, but soon after became interested in art soon after. It could be said he was a renaissance man in the sense that he transitioned so beautifully from one study to the other, setting upon lecturing on design and art in 1889 with the Museum of Fine Arts, Boston, and the newly acquired Oriental Art department for his teachings. He travelled in search of art for his own private collections, and became a member of the Bostonian elite circle of the arts and creatives. Some of his students he lectured at Harvard went on to become prominent artists. His book "The Painter's Palette" is a sort of textbook to these elitists for understanding the analysis of temperatures, values, and colors as well as color temp to instruct on the nuances of painting within tone.

Excerpt from The Painters Palette: A Theory of Tone Relations, an Instrument of Expression In taking up the practice of painting, it is a question what pigments to use, how to arrange them on the palette, and then how to use the palette. Following the example of most painters, we take certain pigments; blacks, browns, reds, yellows, greens, blues, and whites; and, putting them in a row, we proceed to mix them, two or more together, quite freely, following our visual impressions or the suggestions of the imagination. In so doing we hope to produce results and effects which will be appropriate to what we have seen or to the ideas we have to express. There is no principle or law in this procedure and the effects produced depend, in every case, upon the taste and judgment of the performer; who is, necessarily, as much concerned with the problems of the palette as he is with the problem of his Motif or Subject, whether it is well chosen; of his Design, whether it is consistent; or of his Drawing, whether it is true or expressive. It is so difficult to decide what to do, in view of the great number and variety of pigments, and the infinite possibilities of mixing them together. Most painters get over the difficulty by acquiring a habit and doing the same thing repeatedly, following the precedents of their own particular practice, whatever it happens to be. Considering the Art of Music and the use of musical instruments, it seems that the musician has a great advantage over the painter in having a fixed scale of tones and definite rules for using it, - rules based on good precedents and representing the practice of recognized masters. Thinking of musical instruments and the laws of Counterpoint and of Harmony, the question comes up whether it may not be possible for the painter to convert his palette into an instrument of precision and to make the production of effects of light and color a well ordered procedure, - a procedure which everyone can understand and follow. 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.