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or less, with the placing of the complementary color in mass, to
emphasize; or mixed through to neutralize, the force of it. Train your
eyes to see what the color is which makes the effect. Analyze it, see
the parts in the thing, so that you may get the thing in the same way,
if you would get it of the same force as in nature.

=Practical Color.=--All these theoretical ideas as to color have their
relation to the actual handling of pigment, which is the craft of the
painter. The facts of contrasting and harmonizing color relation have
a practical bearing on the painter's work, both in what he is to
express and how he is to do it; as to his conception of a picture and
his representation of facts. In his conception he must deal with the
possibilities of effect of color on color. The power of one color to
strengthen the personal hue of another, or its power to modify that
hue, is a fact bearing on whether the color in the picture is the true
image of the color he has seen in his mind. In the same degree must
this possibility affect his representation of actual objects.

The greatest possibilities of luminosity in sunlight or atmospheric
effects come from the power to produce vibration by cool contrasted
with warm color. You will find that a red is not so rich in any
position as when you place its complementary near it. At times you
will find it impossible to get the snap and sparkle to a
scarlet--cannot make it carry, cannot make it felt in your picture as
you want it without placing a touch of purple, perhaps, just beside
it; to place near by a darker note will not have the same effect. It
is the contrast of color vibration, not the contrast of light and
shade, which gives the life. And at the same time that you enhance the
brilliancy of the several notes of color in the picture, you harmonize
the whole. For the mosaic of color spots all over the canvas brings
about the balance of color in the composition, and harmony is the
result.

=Study Relations.=--You must constantly study the actual relations of
color in nature. You will find, if you look for it, that always, just
where in art you would need a touch of the complementary for strength
or for harmony, nature has put it there. She does it so subtly that
only a close observer would suspect it. But the thing is there, and it
is your business to be the close observer who sees it, both for your
training as a colorist, and your use as an interpreter of nature's
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