Supposing that we have painted a storm scene, in desolate country, with
a single miserable cottage somewhere in front; that we have made the
atmosphere and the distance cold and blue, and wish to heighten the
comfortless impression.
There is an old rag hanging out of the window: shall it be red or blue?
If it be red, the piece of warm color will contrast strongly with the
atmosphere; will render its blueness and chilliness immensely more
apparent; will increase the _degree_ of both, and, therefore, the
abstract impression of the existence of cold. But, if it be blue, it
will bring the iciness of the distance up into the foreground; will fill
the whole visible space with comfortless cold; will take away every
relief from the desolation; will increase the _duration_ of the
influence, and, consequently, will extend its operation into the mind
and feelings of the spectator, who will shiver as he looks.
Now, if we are making a _picture_, we shall not hesitate a moment: in
goes the red; for the artist, while he wishes to render the actual
impression of the presence of cold in the landscape as strong as
possible, does not wish that chilliness to pass over into, or affect,
the spectator, but endeavors to make the combination of color as
delightful to his eye and feelings as possible.[52] But, if we are
painting a _scene_ for theatrical representation, where deception is
aimed at, we shall be as decided in our proceeding on the opposite
principle: in goes the blue; for we wish the idea of cold to pass over
into the spectator, and make him so uncomfortable as to permit his fancy
to place him distinctly in the place we desire, in the actual scene.
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