“The more I think about colour, the more convinced I become that this reflected half-tint is the principle that must predominate, because it is this that gives the true tone, the tone that constitutes the value, the thing that matters in giving life and character to the object. Light, to which the schools teach us to attach equal importance and which they place on the canvas at the same time as the half-tint and shadow, is really only an accident. Without grasping this principle, one cannot understand true colour, I mean the colour that gives the feeling of thickness and depth and of that essential difference that distinguishes one object from another.”

— Eugène Delacroix

29 April 1854 (p. 228)
1831 - 1863, Delacroix' 'Journal' (1847 – 1863)

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Eugène Delacroix 50

French painter 1798–1863

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“Gaiety of tone is the luminous dominant, of tint, the warm dominant, of line, lines above the horizontal
Calmness of tone is the equality of dark and light; of tint, of warm and cool, and the horizontal for line.
Sadness of tone is the dark dominant; of tint, the cool dominant, and of line, downward directions.”

Georges Seurat (1859–1891) French painter

Quotes, 1881 - 1890, Letter to Maurice Beaubourg', August 1890

“Of the three primary colors, the three binary ones are formed. If you add to one of these the primary tone that is its opposite, it cancels it out. This means that you produce the required half-tone. Therefore, adding black is not adding a half-tone, it is soiling the tone whose true half-tone resides in this opposite me have just described. Hence the green shadows found in red. The heads of the two little peasants. The yellow one had purple shadows; the redder and more sanguine one had green ones.”

Paul Signac (1863–1935) French painter

Quoted by Maria Buszek, online - note 19 http://mariabuszek.com/mariabuszek/kcai/Expressionism/Readings/SignacDelaNeo.pdf
The notebook where this sentence appears was only published, in facsimile, in 1913 by J. Guiffrey. Signac therefore must have consulted it at the Conde Museum, in Chantilly. This Moroccan travel document was bought at the Delacroix sale by the painter Dauzats for the Duc of Aumale.
From Delacroix to Neo-Impressionism, 1899

“The means of expression is the optical mixture of tones, of tints (of local color and the illuminating color: sun, oil lamp, gas, etc.), that is, of the lights and of their reactions (shadows) following the laws of contrast, of gradation, of irradiation.”

Georges Seurat (1859–1891) French painter

Quotes, 1881 - 1890, Letter to Maurice Beaubourg', August 1890

“Aesthetic:
Art is Harmony.
Harmony is the analogy of opposites, the analogy of similarities of tone, of tint, of line taking account of a dominant and under the influence of the lighting, in combinations that are gay calm or sad.”

Georges Seurat (1859–1891) French painter

Quotes, 1881 - 1890, Letter to Maurice Beaubourg', August 1890

“Of all the principles, gentlemen, of foreign policy which I attach the greatest value is the principle of the equality of nations; because, without recognising that principle, there is no such thing as public right, and without public international right there is no instrument available for settling the transactions of mankind except material force. Consequently, the principle of equality among nations lies, in my opinion, at the very basis and root of a Christian civilisation, and when that principle is compromised or abandoned, with it must depart our hopes of tranquillity and of progress for mankind.”

William Ewart Gladstone (1809–1898) British Liberal politician and prime minister of the United Kingdom

Speech in West Calder, Scotland (27 November 1879), quoted in W. E. Gladstone, Midlothian Speeches 1879 (Leicester University Press, 1971), p. 123.
1870s

“The louder a sound is, the more we recognize it as being near, so the louder the "tone" of objects that is, the blacker or whiter the nearer they seem; and so if in our picture we wish to give a sense of distance, we must see that the darkest shadows and highest lights are in the foreground : and because we may not be able to materially alter things as the undiscriminating process gives them to us, we must seek for and select those scenes, those subjects, in which this arrangement of highest and deepest tones do come in the foreground, and then take care that our process renders them with fidelity, so that we may not lose the sense of their nearness or the feeling of greater distance of other planes which it is intended they shall give.”

Alfred Horsley Hinton (1863–1908) British photographer

Source: Practical Pictorial Photography, 1898, Tone and atmoshphere, p. 44-45

“We have never heard Seurat, Cross, Luce, Van de Velde or indeed Van Rysselberghe or Angrand speak of dots. We have never seen them be preoccupied by Pointillism. Read these lines, dictated by Seurat to Jules Christophe, his biographer: 'Art is harmony; harmony is the analogy between opposites and between similar elements of tone, tint and line. By tone I mean light and dark; tint is red and its complementary: green, orange and its complementary: blue, yellow and its complementary: purple... The method of expression relies on the optical mixture of tones, tints and their reactions”

Paul Signac (1863–1935) French painter

shadows that follow very strict rules
Quote from Maria Buszek, online - note 22 http://mariabuszek.com/mariabuszek/kcai/Expressionism/Readings/SignacDelaNeo.pdf
Seurat's quote from: Jules Christophe, Seurat, in 'Les Hommes d'aujourd'hui', no. 368, March-April 1890
From Delacroix to Neo-Impressionism, 1899

“The frame [is no longer as in the beginning version] is in a harmony opposed to those of the tones, tints, and lines of the [motif of the] picture.”

Georges Seurat (1859–1891) French painter

Quotes, 1881 - 1890, Letter to Maurice Beaubourg', August 1890

“Pissarro wants to achieve delicacy by means of adjustments of nearly like tones; he keeps from juxtaposing two distant tones and does without the vibrant note which such contrast gives, but strives on the contrary to diminish the distance between two tints by introducing into each one of them intermediate elements which he calls 'passage'. But the neo-impressionist technique is based precisely on this type of contrast, for which he feels no need, and on the violent purity of tints which hurts his eye. He has kept of divisionism only the technique, the little dot, whose raison d'etre is exactly that it enables the transcription of this contrast and the conservation of this purity. So it is easy to understand why he [Pissarro] gave up this means, insufficient as it is by itself.”

Paul Signac (1863–1935) French painter

As quoted by John Rewald, in Camille Pissarro - Letters to His Son Lucien ed. John Rewald, with assistance of Lucien Pissarro; from the unpublished French letters; transl. Lionel Abel; Pantheon Books Inc. New York, second edition, 1943, pp. 135
Signac, in his book De Delacroix au Neo-impressionnisme, tried to explain in this way Camille Pissarro's desertion from Neo-Impressionism around 1890
From Delacroix to Neo-Impressionism, 1899

“The sense that a man is serving a Higher than himself, with a service which will become ever more and more perfect freedom, evokes more profound, more humbling, more exalted emotions than any thing else in the world can do. The spirit of man is an instrument which cannot give out its deepest, finest tones, except under the immediate hand of the Divine Harmonist.”

John Campbell Shairp (1819–1885) British writer

Source: Dictionary of Burning Words of Brilliant Writers (1895), P. 127.

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