KAUFMANN’S
American Painting Book.
THE ART OP PAINTING,
OR
OF IMITATING THE EFFECTS OF COLOR IN NATURE.
WITH ILLUSTRATIONS EXECUTED IN COLORS.
BY THEODORE KAUFMANN.
BOSTON:
L. PRANG & CO., 2182 WASHINGTON STREET. 1871.Entered according to Act of Congress, in the year 1871, By THEOD. KAUFMANN,
In the Office of the Librarian of Congress, at Washington.TO
W. W. CORCORAN, ESQ.,
OF WASHINGTON, D. C.,
THE MUNIFICENT PATRON OF ART, AND THE FOUNDER OF THE FREE ART GALLERY
AT THE CAPITOL OF THE U. S.,
THIS LITTLE TREATISE IS, BT HIS KIND PERMISSION,
RESPECTFULLY INSCRIBED BT
THE AUTHOR.KAUFMANN’S AMERICAN PAINTING BOOK.
CONTENTS.
INTRODUCTION.
COMPOSITION.
DRAWING.
PAINTING.
MODELLING TONES.
LIGHTS AND SHADES.
LOCAL TONES.
MODELLING OF WHITE LOCAL COLOR. COLORED DRAWINGS.
PIGMENTS FOR COLORS.
ABSTRACT COLORS.
PIGMENTS FOR TONES.
THE GRAYS.
WARM AND COLD TINTS.
GRAY, OR TONE, AS LOCAL COLOR. MODELLING OF BLACK LOCAL TONE. MODELLING OF BLUE LOCAL COLOR. MODELLING OF RED LOCAL COLOR. MODELLING OF GREEN LOCAL COLOR. LOCAL COLOR.
POWER OF COLOR.
SUGGESTION IN REFERENCE TO STUDY CLOSING REMARKS.INTRODUCTION.
So many books on art have already been presented to the public, comprising sciences auxiliary to the art of drawing, describing the virtues of brushes, oils, and pigments, together with instructions for painting in oil, pastel, and water colors, and giving prescriptions for representing fire, water, trees, or the flesh of the human body, that an apology seems almost necessary for adding a new one to the number.
I propose, however, to touch none of the above topics ; but I shall endeavor to describe how colors, under given lights, always change in the same manner, on whatever material form they may appear: for example, that yellow changes its hues on clouds, the same as on flames; green on foliage, the same as on cloth; and red on the human cheek, the same as on the rose.
It is my intention to reduce to a few principles, for the use of students and amateurs of art, the effects of color, as seen in all the inexhaustible variety of nature. This variety generally confuses the eye of the student, and obliges him to make the imitation of each phenomenon a separate and independent study.
Though it is true that experiment and practice alone can make a painter, yet the knowledge of theory may pave the road for experiment, and thus facilitate the attainment of the end.
There is no work, as far as I am aware, in which an attempt is made to solve the above problem. I have therefore, in the present treatise, been obliged to rely upon my own resources, and any omission or imperfection that may be noticed in this first essay, will, I trust, be attributed, to some extent, to the novelty of the subject.
THEODORE KAUFMANN.
Washington, D. C., Sept. 1870.KAUFMAN N’S
/
AMERICAN PAINTING BOOK.
The Art of Painting, or of Imitating the Effects of Color in Nature.
Composition.
Every work of pictorial art consists of three distinct parts: the composition, the drawing, and the painting.
I propose to treat of painting only; to omit the part of composition altogether; and to speak of drawing only so far as may be necessary to elucidate the changes and effects of color.
Drawing
By drawing is meant the imitation of limits or outlines, and of the proportions and modelling of natural forms, entirely independent of their color.
There is, in reality, no form without color ; drawing is therefore an abstraction from one of the most prominent and impressive phenomena of nature.
By painting is signified an imitation of the changes of color, which are produced by the action of light upon the forms of nature.
Painting, consequently, has drawing for its basis.
8
PaintingAs, however, in fixing the limits and proportions of forms, color is of no consequence, the correctness or incorrectness of these limits and proportions is likewise of no consequence, as regards the distribution of color. This explains why the painter, though he cannot wholly ignore the element of drawing, yet may paint beautifully on very badly designed forms and very wrongly imitated proportions. Of course, he will not, in this manner, make a good picture.
Besides outlines and proportions, there is another element of drawing: the rounding, or modelling, of the forms. This is accomplished by imitating the different gradations of light and shade, which are produced in nature by the action of light upon bodies or forms.
• These gradations from light to dark, independent of all color, are called tones.
The draughtsman imitates them simply by gradations of white and black.
They are, however, in nature, closely accompanied by changes of color, and are, in reality, never without color; nor is color ever without them. The painter, therefore, cannot succeed in his special task without recognizing in full the element of tones, and without a knowledge of the general laws under which they appear, though this properly belongs to the department of abstract drawing.
These laws are very simple, though of the utmost variety in their application. I will endeavor to state them in the most general terms.
On all bodies, of whatever shape or color, two distinct classes of tones are produced as soon as they are brought under a fixed light. These are called lights and shades.
Lights divide themselves into a variety of so-called half-tones, according to the superficial diversities of the lighted part of the body.
Of shades there are three distinct kinds: first, the undisturbed shade, near the light; second, that which is lighted by reflection from adjacent forms; and, third, the shade which is thrown upon these adjacent forms.
Of these shades, the second, or that influenced by reflection, is of course always lighter than the first; and the third is dependent for its depth upon the distance of the bodies from each other. For example, if the shading body lies on a table, then the shadow which is thrown upon it, will be about equal in strength to the first shade. If, instead of lying on a table, it is suspended above, the shadow loses in strength according to its distance from? the shading body.
Modeling Tones.
Lights and Shades.None of these shade-tones are ever as light as the darkest half-tone in the lighted part of the body; and no half-tone is ever as dark as the lightest tone in the shade.
I will illustrate this law on a piece of cloth, and on a cylinder supposed to lie on a table. (Figs. 1 and 2.)
Both figures are made in the manner in which the draughtsman would represent them. They are drawings, not paintings, though made with oil colors. To the draughtsman, we know, it is of no significance what color the cylinder or the cloth may have; whether they be black or white, red or yellow, blue or green, —he models them exactly alike. He ignores color absolutely, and has, therefore, but one scale of modelling tones; using white as the standard of light, and graduating it with black as the standard of shade.
Local Tones.
The painter, however, observes that a white, red, green, or black cylinder has each not only a particular color of its own (local color), but that this color has also a particular height or depth (local tone); and that he will be obliged to heighten or deepen the scale of the modelling tones in order to imitate his objects. With him, therefore, white is not identical with light, and is not the starting-point of the gradation of tones. He has to work with as many different scales as there are different local tones in existence.
These local tones, of which the draughtsman takes no notice, remain in inseparable connection with local colors for the painter; as they receive, however, a separate importance only in the department of composition or pictorial arrangement, it is here only necessary to mention their existence.
Modelling of White Local Color.
In the foregoing chapters, I have endeavored to state the law for modelling colorless or abstract forms. Such abstract forms do not exist for the painter, who takes notice of forms only as they really appear in nature, namely, clothed with color. The painter may, therefore, speak of modelling his color, when imitating the roundness of objects. It includes the element of tone, or of form, as its presupposition.
Let us now see by what means the painter will imitate the roundness of cloth and cylinder which the draughtsman easily models in white and black, be their actual color what it may.
In order better to contrast the difference of the work of the draughtsman and that of the painter, let us supposo that both, the cylinder and cloth, are of a white, local color, or, more correctly speaking, tone.The beginner in the art of painting will probably at once make use of white paint to lay in the lights. On closer examination of the object, he will discover that there is no pure white visible on it, for in the highest light the white seems to be impregnated with a yellowish hue, and next to it, in the half-tones, it seems to have changed into a bluish or greenish, or, perhaps, into a reddish hue.
It is difficult for him to see what color it actually is 5 and he therefore leaves it for a while, covering the space it occupies with the same yellowish-white tint, which he has discovered to be in reality only in the highest light.
This looks rather dull, and like a yellowish-white local color, though it is not his intention to paint such. It may, however, look better when the shade is added. He accordingly endeavors to produce a mixture of black and white of the depth of the required shade. Bat, having made the mixture, he will probably perceive that this is not what he requires; for the white of the object, on being brought into shade, does not only change its tone, by becoming gray, but it also changes its color, the gray seeming to be of a greenish hue.
Accordingly, he adds some yellow to the mixture, and covers with it the whole space left for the shade. (Fig. 3.)
He will now, perhaps, suppose that, mixing the remainder of the light tint which is left on the palette with some of this shade tint, he will produce the half-tones which combine light and shade, and which he ignored for a while.
Trying this, however, he succeeds only in producing a drawing of the cylinder, or cloth, on a yellowish-white ground ; but not a painting of a white cylinder or cloth. (Fig. 4.)
At this stage, the greenish shade of the object may now accidentally strike his eye, and induce a feeling, so to speak, of just the opposite, or what is called complementary colors, in the half-tints.
He repeats, therefore, the whole of the former process, with the exception of the half-tints, and endeavors to produce for them the complementary colors. Leaving the high light undisturbed, he begins, by putting next to it some delicate, light lilac tints. Graduating them to the shade, he at once , finds that the yellowish-white tint, which acted before only as a dirty local color, now acts as a light on the white cylinder or cloth.
He observes, further, that the white surface on which it is situated throws some of its light into the lower part of the shade. This light is, of course, also of a yellowish hue; and therefore, following the method of nature, he throws some such color into his shade, until it reaches the proper height of tone, and finds that the entire object is lighted and modelled. (Fig. 5.)
He has thus used each of the colors — red, blue, and yellow — in order to imitate not only the appearance of the object in general, after the manner of the draughtsman, but of a white cylinder, or of white cloth. He has made a painting, and not merely a drawing, as is represented in figs. 4, 2, and 1.Colored Drawings.
It is not the material with which the picture is made that constitutes its character as being a drawing or a painting, hut it is the method of rounding or modelling. Whenever an object is represented rounded by abstract tones, or by white and black, it is a drawing, and not a painting, even when local colors have been used, as is often done with photographs, lithographs, or other prints. This produces but colored drawings, and not paintings.
Pigments for Colors.
It is not intended, in this place, to enlarge regarding the source of colors, the spectrum, complementary colors, or other things of that nature. As interesting as these topics may be to science, they are of no value whatever in practical painting, but rather tend to confuse the beginner in the art. I shall merely bear in mind what the practical student, or amateur, would inquire: for instance, what kind of yellow it would be necessary for him to choose among his pigments, in order to mix the light of the white cylinder or white cloth.
For the most part, it really does not matter ; the simplest is always the best. Only when he wishes to produce different kinds of local whites, it is of consequence. In learning how white is modelled around a lighted body, and how to paint this, it is of no importance.
As regards the use of reds and blues m the production of half-tones, the student must remember that there is no absolute blue, or red, or yellow pigment in existence. The red pigments incline always either to blue or to yellow, the blue ones either to yellow or to red, and the yellow ones to red or to blue.
If the student, therefore, needs a half-tone, which strikes his eye as being of a bluish-red hue, he will of course choose a blue pigment which inclines to red (cold blue), or a red one which inclines to blue (cold red); for example, among reds, one of the cold lakes, or Indian red; and among blues, cobalt or ultramarine.
If he would choose a blue pigment with yellow tendency (warm blue), for example Prussian blue, mixing it with red, which inclines to yellow (warm red), for example, light red, he would produce a warm, greenish tint, but not a lilac one.
Thus it is evident, that the student must choose among his pigments according to their deviation from the absolute standard of the color in question, with reference to the tone he wants to produce. It is evident, in other words, that the difference between the various pigments of one and the same color is important to the artist only on account of their different inclinations to one or the other of the remaining colors.Abstract Colors.
The student should never forget that the pigments with which he has to work are each and all only more or less close approximations to three abstract colors, — red, blue and yellow, — and that these three abstract colors are the standard by which he must measure the fitness of his pigments for a certain purpose. And not only the various pigments, but all the infinite variety of actual tints, which he may observe in nature, and which it is his aim to imitate, he may judge of by comparing them in his mind with the three absolute colors, and noting to which of them they incline, and wherein they deviate.
If he is advanced in the art of painting, then, and only then, may his choice of pigments be guided by minor considerations of another nature ; for example, when one pigment of about the same color as another in reference to the tint desired, may be more easily handled, or may be more opaque or transparent, or may possess a finer hue, etc. But this, as intimated, is a matter of refinement and further advance in art, but not of essential importance, and should, therefore, not be considered at all by the pupil, as it would only serve to obscure the vital points, and to confuse his judgment.

Tones, as we know, are the different degrees of light and dark in nature, without reference to color. How, all such pigments, which, when mixed with white, do not show a decided color, as red, blue, yellow, or a secondary color, as green, lilac, orange, are to be considered as representations of tones, with which to lighten or darken colors, and not as colors themselves. The different white and black pigments, and all the browns, as umber, Vandyke brown, burnt sienna, etc., belong more or less to this class.
The Grays.
Bed, blue, and yellow, when mixed in equal strength, lose their character as colors, and produce but a dead tone, nearly the same as black and white when mixed, — that is, gray.
Therefore it is of the utmost importance in painting, to he careful not to kill color altogether by mixing the three real colors in equal strength.
Pigments for Tones.(What is called w dirt ” in painting, and which happens to escape the brush of the student very frequently, has its foundation generally in this source.)
The student should keep in mind, that the grays, or tones, should always be governed by one of the colors or secondary colors, and thus become reddish, greenish, bluish, etc. I would suggest, therefore, to the pupil, to omit the word "gray ” altogether from his artistic terminology. It does not mean anything, because it means too much. Let him call such tints reddish, greenish, yellowish, etc., warm or cold tints; then, at least, he will always know what is meant, what color predominates, and consequently how to mix them.
He will remember, however, that the value of the color of such tints is relative, for a tint which appears reddish within a field of green, may appear greenish, if put into a red one.

Warm and Cold Tints.

It is generally understood that blue represents the cold, and yellow the warm tints. But yellow, as well as blue, is, each for itself, totally indifferent in this respect, as is also the case with red. They are neither warm nor cold.
The quality of tints and tones originates in their mixture with each other. The combination of the three colors (red, blue, and yellow) produces, as we know, a neutralization of all color, or what is called tone. The combination of two of them only, when they are mixed in equal proportions, does not produce a neutralization or loss, but a change of their color into green, lilac, or orange. But when they are mixed in unequal proportions, so that one color still largely predominates, then the effect of cold or warmth originates. A little red added to blue , will make this a cold blue tint, and a little yellow will make it a warm one. Red, by the addition of a little blue, becomes cold, and by the addition of a little yellow, becomes warm.
"With regard to yellow there seems to be an exception. vTt can bear Very little blue without becoming greenish, instead of only cold. A little red will be needed to neutralize the green and preserve the cold.
Again, the mixture of equal proportions destroys the effects of cold or warmth, and therefore green, lilac, and orange are in themselves as neutral as red, blue, and yellow. To produce, for example, a cold green, it will need to be deprived of some of its yellow, which must be replaced by red; to produce a warm green, it must be deprived of some of its blue, replaced by red.
All mixed tints whatsoever in which red and blue prevail, are cold; and all in which red and yellow predominate are warm. Thus, in the production of cold and warmth, red seems to act as the arbiter, making the blue cold and the yellow warm, and becoming itself cold or warm on the addition of small quantities of blue or yellow.Gray, or Tone, as Local Color.
As in the first instance we supposed a white cylinder, we may now suppose a gray or a black one; that is to say, these tones may serve as local tones. In this case they must be treated as colors.
We have seen that white changes around the form of a cylinder, or about the inequalities of a piece of cloth, through reddish, bluish, and yellowish tints. This is also the case with black and gray. It may be, that the neutralization of color, which these tones represent, is so modified by the action of light upon it, under different angles, that the slight play of diverse colored tints becomes visible.
Modelling of Black Local Tone.
Let us suppose a cylinder to be black. (Fig. 6.) The light shines as well on a black body as on a white one. The light on the black cylinder may appear gray to the student, and, being without experience, he will perhaps suppose that he can produce it by simply adding white to the black; and, indeed, the draughtsman, when he has reason to represent a body as a dark one, will do so. By closer observation he will, however, observe, that the light and half-tones of the black cylinder, play in opposing, or so-called complementary colors, as on the white one. If the highest light seems to be of a greenish hue, it is certain that the half-tones will be reddish. The deepest shade will then have an 'effect as if green were added to black, and the reflected part will, of course, be lighted according to the color of the reflecting body. .
The student, however, may see a black body, where the highest light seems to be reddish; but then the half-tones will appear to be greenish, and the deepest shade reddish.
He will nowhere find occasion for neutral gray, or pure black.
The student learns from this, that he cannot model these tones into lights and shades without employing all the three colors. It is thus, too, with each of these colors, when they constitute the local color of an object. Neither can be modelled without the help of each of the remaining ones. Bed must be modelled with blue and yellow, and blue with yellow and red, in order to imitate the natural appearance of bodies.Modelling of Blue Local Color.

I will illustrate this on a piece of blue ribbon. (Fig. 19.)
We here perceive the highest light is a brilliant blue. Among our pigments we choose such a blue as approaches nearest to it in appearance, when brought to the proper height of tone, by being mixed with white. We will suppose that cobalt is such a blue.
Neglecting the half-tones, we cover with this tint the entire space for the light.
Glancing now at the shade, we see that cobalt, being our local color, will not suffice for the production of sufficient depth. The question then arises, How may this depth be attained ?
By adding a deeper blue, as Prussian blue, we may easily do so; but, as there is a great deal of yellow in this pigment, we should lose our local color. The shade would look too greenish, compared with the light.
We choose, therefore, from among the dark-toned pigments the most colorless, say neutral black, and darken the cobalt with this to the proper depth of the general shade.
We now turn our attention to the half-tone S. These are colder than the high light, and, of course, some degree deeper in tone. How are these cold tones to be effected ?
By adding yellow we should produce a warmer tone; consequently we choose among the reds one with a bluish hue (cold red), and mix this with cobalt and white some degrees darker than the high light, graduating this according to the curvings of the form.
Turning our eyes again upon the shades, we now perceive that, in contrasting them with the half-tones, the deepest portions of the former seem to require a warmer tone than the general shade which we first put in.
A little .Prussian, or Antwerp blue, will now be in its right place. It has sufficient yellow in it to supply the want, acting thus with its depth or tone as well as with its own essential color.
We now direct our attention to the reflected portions. These are still warmer, and, as we know, the lightest portions of the shade.
The use of Prussian, or Antwerp blue, for these portions would be productive of too much yellow. The mixture would act as a greenish color, and not simply as a warm tint of the local blue. We look, therefore, among our red pigments for the most neutral one, though with a tendency to warmth, and choose, perhaps, vermilion, which will warm the blue without giving definite color, as yellow would do in this case.
Fig. 10 represents another piece of blue silk, but of a different hue, and of deeper tone.In this the play of the light disperses the color in a different manner. In the highest light we find red, and in the highest half-tones the purest blue. Only in the deeper half-tones, and in the shades, does the color change in about the same manner as on the former piece; though, as the local tone is a great deal deeper, the darkest spots become nearly colorless, having a great deal of yellow and red, viz., brown added to the local color.
Modelling of Red Local Color.
Fig. 11 represents a piece of light-red ribbon.
Except that the leading color is red, instead of blue, we here observe the same contrast of tints. In fig. 9, the leading blue is changed into half-tones by red; in fig. 11, the leading red is changed by blue.
The reflected part shows a very warm red. It there changes its inclination to yellow instead of blue.
An inclination of the leading red to both of the remaining colors, to red as well as to blue, and therefore a slight combination of all the three colors is visible only in the darkest spots of the shade. (This is always a characteristic feature of the deepest shades. They share this feature with the most brilliant, glossy, or glittering lights. Both extremes are more or less colorless. Even in this piece of ribbon, therefore, such more neutralized tints of very light tone may be used sparingly in the high light.)
Modelling of Green Local Color.
Fig. 12 represents a piece of green silk. Green is only a secondary color, consisting of yellow and blue; but it changes into half-tones with similar characteristic features, through the medium of the remaining third color, red, which, when supplied, takes the place of a portion of the yellow, of which the green must be deprived in order to cool the tint.
Local Color.
From the foregoing observations, we conclude that every curve, sinuosity, or flat surface of a body, produces an alteration of the local color; and therefore the real local color is not directly discernible on a particular portion of the body or form, or as a particular tint, but only by means of the harmony of all the different tints.The student is therefore at liberty to choose any of these tints as his leading or local color. He may, however, most easily succeed in his purpose of imitation by selecting always that one which shows the most decided color.
This will generally be the tint of the high light, except where the surface is glossy or glittering.
The opposite tendency, or where the least of this color is visible, he will generally find to be in the tints of the deepest shade, and of the glossy, or glittering lights, — the latter being cold, and the former generally warm.
As the student knows that a combination of all the three colors produces loss, or neutralization of color, he knows at once how to mix such tints; and as he also knows what combination produces the effect of oold or warmth, he knows what colors should predominate in such tints. If, for example, his leading color is a delicate rose, as in fig. 11, he will know that he must add yellow and blue; or, better, combine warm red and blue for the deepest shade. If the leading color is blue, he must add red and yellow, etc.
To determine in what proportions it will be necessary to add them in order to attain the desired tint, is, of course, a matter of experiment, and dependent on the education of the eye.
In the general shade, only so much of the leading color is lost as is necessary to produce the greater darkness of tone.
The tints of the reflected part are, of course, produced by the tone and color of the reflecting body. As the reflecting light is generally warm, the reflections are so likewise. The force of such reflected color may be best illustrated on white cylinders. (Figs. 7 and 8.)
In the half-tones, the leading color is not so much lost, as changed into cold tints.
The Power of Color.
Color has its full power only within a certain limit of the middle tones. If it is brought up to a very light or high tone, it loses as much as when it becomes deep-toned.
Loss of color is gradually produced by approximation to either end of the tone scale. If to any colored tint, white is added above a certain quantity, there will be produced, besides loss of color, loss of warmth, which needs to be supplied, when desired. In the higher and deeper degrees of the tone scale (high lights and deep shades), the mixture of tints is generally more important in regard to their cold or warmth than to color.Suggestion in Reference to Study.
As the half-tones play the most important part in the art of painting, I would suggest to the student to concentrate his attention principally upon them, at least in the beginning of his studies. White cloth of different kinds is, perhaps, best adapted to impress his eye with the characteristic features of the half-tones, in contrast to the hues of light and shade.
These characteristics are the same everywhere; but they are easier seen and imitated on white bodies than on any other which he may choose.
The student should be thoroughly acquainted with the modelling of colors in general, before he applies himself to the study of a particular branch of the art.
I have thus endeavored to point out some of the fundamental principles of practical painting, which, I believe, will hold good through the whole range of the art, whether the branch be landscape, portrait, or. figure painting; and the material, water, oil, or fresco. The effect of color is everywhere the same, though the application and handling may be different. The former is essential to the art, and the latter but subordinate, and, in comparison, easily learned. I have, therefore, said nothing about handling, vehicles, and so forth. The less there is said to the student about these things, and the less there is seen of them in a picture, the better.
In the next essay, and on the basis of these principles, I shall endeavor to guide the student a little farther into the world of pictorial imitations.
Closing Remarks.PRANG’S AMERICAN CHROMOS
are reproductions of paintings by well-known masters, both American and foreign, by the process of Chromo-Lithography. They are fac-similes of the originals, and are acknowledged to take the lead among Chromos, in Europe as well as in America. The following partial list of the names of artists which appear upon our catalogue is evidence of the high character of these publications: —
CORREGGIO,
MURILLO,
EASTM. JOHNSON,
JAS. M. HART,
E.	LEMMENS,
VIRG. GRANBERY,
LILLY M. SPENCER,
J. MORVILLER,
J. G. BROWN,
T. LOBRICHON,
THOMAS HILL,
THEOD. KAUFMANN,
WM. HART,
A. F. TAIT,
BOUGUEREAU,
JOS. COOMANS,
MARY THERESA HART,
A. T. BRICHER,
F.	SCHLESINGER,
GEO. L. BROWN,
ED. MORAN,
BENJ. CHAMPNEY,
S. COLMAN,
M. F. H. DE HAAS,
&c. Ac. &c. &c.
Most of the pictures by living American artists were painted expressly for us, and may therefore be looked upon as representative specimens of their different styles; and as the price of the chromos puts them within the reach of nearly every one, they may safely be recommended, not only to those desiring to obtain true works of art for the ornamentation of their walls, but also to the student and to the amateur artist who wishes to procure models from which to learn the practical application of the principles of art.
For opinions of the press, of artists, and of literary people, see next page.
PRANG’S AMERICAN CHROMOS
are sold in all Art-stores throughout the world; but not every Chromo offered is one of Prang's Chromos, and you will therefore please examine title and trade-mark before buying.
 For Illustrated Catalogue enclose postage stamp to
L. Prang & co.,
BOSTON, MASS.
General Agent for the Continent of 'Europe: •.
GUST. W. SEITZ, Hamburg.
General Agent for the United Kingdom:
ARTHUR ACKERMANN, 191 Regent St, London.WHAT IS SAID ABOUT PRANG’S CHROMOS.
Mr. Jos. Coomans, the celebrated Belgian artist, says of our " Family Scene in Pompeii”: " The result obtained by this long and difficult process, is	really	astonishing!	The	artist	has
surmounted the greatest difficulties in a manner the most happy.”
Mr. Fredr. E. Church, the great American artist, says	of our " Magdalen ”:	" The	grading
and tone of the flesh-tints strike me as being remarkable.”
Mr. James M. Hart, the excellent American landscape painter, says of our " Easter Morning ”: " Mrs. Hart and myself are much pleased with the Chromo. It gives a very good idea	of the picture, and has not suffered	in	the reducing.”
Mr. Raljph Waldo Emerson	says	of	our "Barefoot	Boy”: "He is already	a favorite in
my house, each chamber contending for his presence.”
Hon. Charles Sumner says of our " Sunset in California ”: " The * Bierstadt,’ as it hangs on the wall among Oil pictures, has been more than once taken for an Oil picture. It was not easily believed that it was a copy in Chromo.”
Mr. John G. Whittier, the people’s poet, says of our " Birthplace of Whittier ”: " It is the old homestead as it was when I left it thirty years ago — true in every detail — its very tone and atmosphere recalling the early morning’s glory,—gone Indian Summers.”
Grace Greenwood says of our	" Three	Tom-Boys ”: "	Of your many beautiful	publications,
I	think * The Three Tom-Boys ’ the	most	charming. From	the wall of my chamber it is radia-
ting summer brightness and bloom, this dull, rainy, March day.”
Mrs. Mary A.. Livermore, writing in the Woman’s Journal, says of our "Portrait of Rev. H. W. Beecher”: "Prang’s Chromo of him, taken from an oil painting, is so life-like, one almost forgets it is only the face of the great, good man on canvas.”
The Boston Traveller says of our "The Storm is Coming”: "It is a charming Chromo, scarcely to be told from the original, and worthy a place in any one’s parlor.”
The New York Evening Mail says of oiir "Queen of the Woods”: "It is a wonderfully true reproduction of the original, in both sentiment and color.”
The " Zeitschrifl fur bildende Kunst,” the leading Art-journal of Germany, says of our "^Launching the Life-boat”: "This picture, if framed in gold, makes the unmistakable impression of an original painting, and a very good one at that.”
The North British Daily Mail, of Glasgow, says of our "Launching the Life-boat,” and " Sunset on the Coast ”: " The originals, we may remark, are evidently very fine works to begin with, and might have been painted respectively by Clarkson Stanfield and Edwin Hayes, with every credit to either artist; but the spirit and effect with which they have been reproduced, .the fidelity of the imitation in the 'textures’ and handling to the bona fide sweep of a vigorous brush, is simply astonishing.”
PRANG’S AMERICAN CHROMOS
are sold in all Art-stores throughout the world; but not every Chromo offered is one of Prang’s Chromos; therefore examine title and trade-mark before buying.
For Illustrated Catalogue enclose postage stamp to
L. PRANG & CO.,
Boston.