applied principles in
temperamental art.

Color representing the natural aspect of objects, color containing "tone,"
and color containing tone quality or "tonal quality," are three aspects of
color to be met with in accepted art.

Color

As with the sentiment of the art idea, whether it incline toward the real
or the ideal, so the distinction applies between what is reflective only
of nature and what is reflective also of the artist's temperament. It is
a simple proposition in the scale of value and it works as truly when
applied to color as to the art concept: the more of the man the better the
art. Were it not so the color-photograph would have preeminence.

The first degree in the scale of color is represented by that sort which
applied to canvas to imitate a surface seems satisfying to the artist as
nature-color. The second degree is that in which the color is made to
harmonize with all other colors of the picture on the basis of a given
hue. This tonal harmony may fail to reveal itself in many subjects in
nature or in such arrangements of objects as the still-life painter might
and often does collect, and is therefore clearly a quality with which the
artist endows his work. Such painters as Whistler and his following see
to it that this tonality inheres in all subjects which may be governed in
the composition of color (such as his "arrangements" in the studio), so
that the production of this harmony results naturally by following the
subject.

Tone

The color key is given in that selected hue which influences to a greater
or less degree all the colors, even when these make violent departures in
the scheme of harmony. Solicitous only of the quality of unified color,
the majority of these painters (though this frequently does not include
Mr. Whistler himself) concern themselves wholly with that thought,
employing their pigment so directly that the _vibration_ of color is
sacrificed.

The production of this vibration is by agreement on the part of all great
colorists impossible through impasted color or that applied flatly to the
surface, which they declare cannot be as powerful, as significant or as
beautiful as that which vibrates, either by reason of the juxtaposition of
color plainly seen, as with the impressionists, or of its broken tone, or
by virtue of the influence of a transparent glaze of color which enables
t