DOI Heft:
No. 5 (August, 1893)
DOI Artikel:Hartley, Alfred: Sketching from nature
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.17188#0199
Sketching from Nature
ground is certainly desirable and will help him
enormously in getting at a rapid effect. Sometimes
it is particularly agreeable to paint into a wet
ground recently laid on, but in this case care must
be taken that the ground be very thin or muddi-
ness may be the result, and may destroy what
would be otherwise a valuable sketch.
The best pastellists seem usually to have resorted
to a more or less toned ground, and some of the
loveliest things have been done on ordinary brown
paper.
This same paper is also very pleasant for work-
ing on in pencil or charcoal, touched with white
chalk.
But each artist eventually selects his own
material for the work he has to do, and little
can be said to help him in this selection. Expe-
rience is his guide here, as indeed in most other
matters.
This, however, does need insisting upon : that the
sketch, by whatever means it be made, shall be pur-
poseful and condensed, definite in object, and a
record of a particular impression, and if possible
of fuller meaning than is apparent on the surface.
Let it partake of the shorthand memorandum, for
herein will lie one very important element in the
sketch. I refer to its power in assisting the
memory.
It is astonishing how much may be brought
back to the observer of any scene by a few lines or
touches of the brush, if such lines have been put
down with the distinct intention of making them
recall that which has been observed. They may
be mere abstractions in themselves, but will serve
to recall much. That memory is of the utmost
service in painting will be evident, I believe, to all
who have closely studied the works of the great
painters, and who have practised the art them-
selves. Much might be written on this subject,
but the space at command prevents my touching
upon it except in passing.
In bringing this paper to a conclusion, I take the
opportunity of tendering my sincere thanks to
those artists who have so kindly helped to embel-
lish with their sketches the pages devoted to this
subject. While conscious of how much might be
said concerning the excellence of these productions,
and also concerning the method of work of those
who are good enough to contribute them, I prefer
to let them speak for themselves. Though losing
—to some extent—as all translations must lose, the
delicacy and variety which characterise the original
works, these reproductions serve their purpose
admirably, and help us to follow the intentions of
the artists in a way which renders any comments
from me unnecessary.
To conclude; I would, at the risk of being
FROM A PENCIL SKETCH BY ALBERT MORROW
181
ground is certainly desirable and will help him
enormously in getting at a rapid effect. Sometimes
it is particularly agreeable to paint into a wet
ground recently laid on, but in this case care must
be taken that the ground be very thin or muddi-
ness may be the result, and may destroy what
would be otherwise a valuable sketch.
The best pastellists seem usually to have resorted
to a more or less toned ground, and some of the
loveliest things have been done on ordinary brown
paper.
This same paper is also very pleasant for work-
ing on in pencil or charcoal, touched with white
chalk.
But each artist eventually selects his own
material for the work he has to do, and little
can be said to help him in this selection. Expe-
rience is his guide here, as indeed in most other
matters.
This, however, does need insisting upon : that the
sketch, by whatever means it be made, shall be pur-
poseful and condensed, definite in object, and a
record of a particular impression, and if possible
of fuller meaning than is apparent on the surface.
Let it partake of the shorthand memorandum, for
herein will lie one very important element in the
sketch. I refer to its power in assisting the
memory.
It is astonishing how much may be brought
back to the observer of any scene by a few lines or
touches of the brush, if such lines have been put
down with the distinct intention of making them
recall that which has been observed. They may
be mere abstractions in themselves, but will serve
to recall much. That memory is of the utmost
service in painting will be evident, I believe, to all
who have closely studied the works of the great
painters, and who have practised the art them-
selves. Much might be written on this subject,
but the space at command prevents my touching
upon it except in passing.
In bringing this paper to a conclusion, I take the
opportunity of tendering my sincere thanks to
those artists who have so kindly helped to embel-
lish with their sketches the pages devoted to this
subject. While conscious of how much might be
said concerning the excellence of these productions,
and also concerning the method of work of those
who are good enough to contribute them, I prefer
to let them speak for themselves. Though losing
—to some extent—as all translations must lose, the
delicacy and variety which characterise the original
works, these reproductions serve their purpose
admirably, and help us to follow the intentions of
the artists in a way which renders any comments
from me unnecessary.
To conclude; I would, at the risk of being
FROM A PENCIL SKETCH BY ALBERT MORROW
181