DOI Page / Citation link:
https://doi.org/10.11588/diglit.2086#0056
46 LANDSCAPE PAINTING.
until it covers all such parts as he wishes to include in his picture. When its
distance from the eye equals its length, the folio will hide nearly as much space
as the eye can embrace without difficulty. The distance is regulated by the
principles of perspective, and, if increased, the height and -width of the picture
must be increased in proportion; or a smaller portion of the landscape will be
included. It will, however, be shown, in a future page, that this rule admits of
exceptions.
Another point, in the arrangement of a picture, is, that the person looking at it
should be made to feel as if he were placed in the position of the artist when sketching
the view. To accomplish this, the lines must be represented so truthfully, that the
objects on the flat surface of the paper may appear to be at the same relative distances
from the eye at which the real objects were seen. This being skilfully done, it will
at once be evident whether the sketch was taken from high or low ground, or whether
more of the subject was to the right or to the left of the spectator. To assist in
arriving at this result, the frame of the sketching folio may be held up in a vertical
position, so as to form the boundary lines on the top, the base, and the two sides of
the intended picture. In this position the artist will find the perpendicular and
horizontal lines supplied by the frame extremely useful; as he may, from time to
time, compare with them the lines of his progressing subject.
The first studies of composition should be faithful transcripts of the lines, as they
appear in nature. Subjects having simple forms should be selected, and from these
no deviation should be permitted. A firm and perhaps severe style will be the
result. By this practice the mind becomes stored with images so clear and distinct
as never to be forgotten.
Should the student, when more advanced, find the position which he has chosen
deficient in any particular point, he will then have the power to recall forms previously
studied, and which may be more suitable to the view he is representing ; or he may
change his position, until he perceives that the arrangement of the lines is agreeable.
He should, however, place some restraint upon himself, in introducing too great a
variety ; as continual change, whether it be in outline, light and shade, or colour,
produces satiety, and fatigues the attention,—simplicity of parts and lines being at
all times necessary to produce repose.
After a little practice in composition, the student will become aware that lines,
receding from the fore-part or base line of the picture, assist the perspective, and
induce a true estimation of the distance of the objects ; while those parallel to it
only conduct the eye from side to side. A position, therefore, if possible, should be
chosen, so as to avoid these parallel lines; for the mind being unconsciously
influenced by the direction of the lines in a picture, a road, a path, or a river may
until it covers all such parts as he wishes to include in his picture. When its
distance from the eye equals its length, the folio will hide nearly as much space
as the eye can embrace without difficulty. The distance is regulated by the
principles of perspective, and, if increased, the height and -width of the picture
must be increased in proportion; or a smaller portion of the landscape will be
included. It will, however, be shown, in a future page, that this rule admits of
exceptions.
Another point, in the arrangement of a picture, is, that the person looking at it
should be made to feel as if he were placed in the position of the artist when sketching
the view. To accomplish this, the lines must be represented so truthfully, that the
objects on the flat surface of the paper may appear to be at the same relative distances
from the eye at which the real objects were seen. This being skilfully done, it will
at once be evident whether the sketch was taken from high or low ground, or whether
more of the subject was to the right or to the left of the spectator. To assist in
arriving at this result, the frame of the sketching folio may be held up in a vertical
position, so as to form the boundary lines on the top, the base, and the two sides of
the intended picture. In this position the artist will find the perpendicular and
horizontal lines supplied by the frame extremely useful; as he may, from time to
time, compare with them the lines of his progressing subject.
The first studies of composition should be faithful transcripts of the lines, as they
appear in nature. Subjects having simple forms should be selected, and from these
no deviation should be permitted. A firm and perhaps severe style will be the
result. By this practice the mind becomes stored with images so clear and distinct
as never to be forgotten.
Should the student, when more advanced, find the position which he has chosen
deficient in any particular point, he will then have the power to recall forms previously
studied, and which may be more suitable to the view he is representing ; or he may
change his position, until he perceives that the arrangement of the lines is agreeable.
He should, however, place some restraint upon himself, in introducing too great a
variety ; as continual change, whether it be in outline, light and shade, or colour,
produces satiety, and fatigues the attention,—simplicity of parts and lines being at
all times necessary to produce repose.
After a little practice in composition, the student will become aware that lines,
receding from the fore-part or base line of the picture, assist the perspective, and
induce a true estimation of the distance of the objects ; while those parallel to it
only conduct the eye from side to side. A position, therefore, if possible, should be
chosen, so as to avoid these parallel lines; for the mind being unconsciously
influenced by the direction of the lines in a picture, a road, a path, or a river may