The most objectionable form of false values is the isolated sort, whereby the over accentuation of a part is made to impress itself unduly; “to jump” in the technical phraseology of the school.
The least objectionable and often permitted form is that where a large section is put out of its value with the intent of accenting the light of a contiguous part.
In landscape the whole foreground is frequently lowered in tone beyond the possibility of any cloud shadow, for the sake of the light beyond, which may be the color motif of the picture and which thereby is glorified.
CHAPTER XVII - ENVELOPMENT AND COLOR PERSPECTIVE
Allied to values is the idea of envelopment: of a kindred notion to this is aerial perspective. On these two depends the proper presentation of a figure _in air._
If at any place on the contour of a figure the background seems to stick, the detachment from its surroundings, which every figure should have, is wanting.
The reason for it is to be found in a false value which has deprived it of rotundity of envelopment.
The solid object which resists the attempt to put one’s hand around it or to stretch beyond into the background, lacks this quality. A fine distinction must be here drawn between simple envelopment and relief, which is a more positive and less important quality.
However flatly and in mass figures may be conceived, the impression of aerial envelopment must be unmistakable. Here a nice adjustment of values or relative tones will accomplish it.
Naturally, the greater space between the spectator and an object, the more air will be present. To the painter the color of air is the color of the sky. This then will be _mixed_ with the local color of the object, giving it atmosphere.
Envelopment is unmistakably represented by the out of door Dutch painters, for in the low countries atmosphere _is seen_ in its density, and at very short range. Holland is therefore an ideal sketching ground for the painter and the best in the world for the student, since the ideas of values and envelopment are ever present. In this saturated air the minute particles of moisture which, in the case of rain or fog can affect the obliteration of objects, partially accomplishes it at all times, with the result that objects seem to _swim in atmosphere._