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It seems that here in the United States some of the painters, especially the younger men, regard tone as the prevailing color or intensity of a picture, as we say the tone of a landscape is gray, that of an interior piece is red, that of a still-life yellow. The word is also applied to a picture as a whole, and, so far as I can make out, it is used in three different senses in certainly three different countries, though I would not be understood as saying that all the painters in any one of the countries to be mentioned agree in one understanding of tone.ġ. These meanings of the word it will not be necessary to speak of further because they explain themselves.īut tone has a larger, and, unfortunately, a more confused meaning in painting than mere color or light qualities in single notes. Again, the word is often coupled with adjectives that give it a positive meaning as, for in-stance, we speak of a ” cool ” tone, a ” warm ” tone, a “deep” tone, a “rich” tone, meaning thereby certain qualities which colors may possess in or out of a picture. In that sense we may speak of the light or dark tones of a charcoal sketch or an etching as readily as of the tones of a painting in high color. To begin with, in a limited sense and as applied to single notes, it may have a meaning independent of color, as we say “a light tone” or “a dark tone,” referring to the quantity of light or dark contained in it regard-less of tint or hue. The word is used very loosely in criticism and in the studio, as art words generally are, and means various things to various people.