Crown 8vo. Cloth Bound, 4/6. Second Thousand. 



THE SCIENCE OF PAINTING 



UY 



J. G. VIBERT, 



Lectuvcr on Chemistry at VEcole des Beaux Arts, Paris. 



(Qpiniotx* of tlje $Jreae. 



"The publication of M. J. G. Vibert's work, 'The Science of Painting,' is 

 quite anevent in artistic circles." — M. Le Franc. 



" The book is full of interest to the artist, some of it is even amusing, 

 especially those portions which make fun of the scientific savant. The volume is 

 practical throughout." — Magazine of Art. 



"Mr. Percy Young has done the art public a service in his workmanlike 

 translation of Vibert's book on Painting. The translator has made little attempt to 

 soften the effect produced on reading the French original, but this is rather praise- 

 worthy than otherwise ; such as it is we want to know that we are reading the 

 authentic Vibert." — Artist. 



" English painters do not pay so much attention as they ought to the chemical 

 composition of the paints they use." — Pall Mall Gazette. 



" In Vibert's ' Science of Painting,' the author treats of that part of an artist's 

 work which is unfortunately frequently overlooked, viz. : the quality of the materials 

 used and the proper method of their application. Durability is as essential to the 

 work of the artist as to that of the architect, and this cannot be secured unless a 

 painter has some knowledge of the practical as well as the artistic part of his pro- 

 fession. Having explained the necessity for using the best materials available, the 

 author adds an appendix on the composition and manipulation of various paints 

 containing much useful information." — Morning Post. 



" The vexed question of the durability of painting in oil and water colours, of 

 the qualities of different varnishes, and of the grinding and mixing colours, are dealt 

 with in a masterly manner in Vibert's 'Science of Painting.' It is a thoroughly 

 practical handbook, and the appendix of recipes, ' tips ' as to cleaning, varnishing, 

 etc., are of great value." — Star. 



" M. Vibert's object is to instruct painters in the materials of their art. 

 Painters will find much valuable information here." — Black and White. 



" In M. Vibert's book the material processes of painting are described — the 

 law of colouring in the mixing, superposition, and juxtaposition of colours as depend- 

 ing on the refraction and reflection of light ; colouring substances and oils, resins, and 

 varnishes ; canvases, panels, and wall painting, water colours, crayons, and distemper, 

 and not the least important, the cleaning and restoring of pictures. The first chapter, 

 on ' The Process of Painting at Different Periods,' gives a summary of what is known 

 of a subject that has drawn much attention of late years : the recent exhibition of 

 entire pieces of Greek painting, and the attempt at imitating ancient processes in late 

 salons, have excited the curiosity of the picture-gazing public. The next chapter, on 

 ' Light and Colours,' helps to an understanding of certain rather spasmodic efforts " 

 — ' Impressionist,' Japanese, ' spatter '-and-' dab '-work — which have provoked quite as 

 much amazement as amusement of late years. Others than practical painters will also 

 be glad to know why Harry Regnault's pictures have already lost the brilliancy of 

 their colours, while fifteenth century paints still glow imperishable. And every 

 owner of a picture will read with interest what is said of proper and improper clean- 

 ing and restoration. M. Vibert also points out the lamentable adulteration of paints 

 and their materials used by present-day artists." — Westminster Review. 



" Vibert's ' Science of Painting ' has reached its eighth thousand in France, and has 

 now been translated into English. Nobody but one possessed of the requisite trade 

 knowledge in both French and English could have done what was needed in 

 translation. Mr. Young has done his task well, and we now have presented to us 

 most of the mechanical secrets of the French ateliers, together with a number of 

 receipts, formula?, and tables of chemical information which will save the professional 

 artist an infinity of trouble in little things. — Sunday Times." 



