Barnard, George: The Theory and Practice of Landscape Painting in Water Colours (London, 1855)

SKETCHING OR STUDYING FROM NATURE. 93

warm-coloured rock only in light. Eepeated the wash, only this time leaving the sky
and rock. The whole subject sure to be sober and gray after this, even the trees, grass,
and fern—looks too dark—put in all general shadows and tints—all decided in their,
form—no markings or smaller divisions yet—moss and vegetation all darker than
rocks. Second sitting, same kind of day. Began by giving the form of the clouds,
which were fine. Shadow of clouds deepest over middle portion of hanging woods
—old oak on left hand relieved in rather warmer half light—must not leave the
stems of birch trees in wood too light, or they will destroy the breadth—
glazed with transparent colours only,—raw sienna, vandyke brown and indigo,
brown madder and indigo ; burnt sienna and Payne's gray ; Indian yellow, burnt
sienna, and indigo—where rather warmer, raw sienna and brown madder—brown
pink and vandyke brown over mossy parts. Eubbed out lights—getting granulation
—toned over some of these lights with warmer colour—dipped rather dry brush in
various colours, such as brown madder, yellow ochre, burnt sienna, &c.—dragged
over the surface in the lights; by these means lights rendered more varied, opaque,
and solid."

[In concluding these notes on sketching from nature, the author must remark
that, however useful the observations and remarks of uneducated people may be
. in reference to natural effects, or the general forms and colours of objects, the student
must be cautious in following the advice of such persons in searching for good sub-
jects or favourable points of view for the exercise of his art; they would, undoubt-
edly, lead him to the top of the highest hill in the neighbourhood, whence an
extended view might be taken of the whole country, for it is the vulgar idea that the
more that is seen, the finer will be the picture: while, on the contrary, artists know
that positions chosen in valleys, by the side of streams and roads, furnish better
foregrounds and more variety of outline. It is related of one of our finest painters,
that on reaching the Bay of Naples instead of sketching the whole of that glorious
scene, he (to the great chagrin of an amateur friend), sat quietly down and made a
careful study of a fine mass of rock, with a figure or two in the foreground; while
thus employed he doubtless imbued his mind with the characteristic qualities of the
whole scene. Amateurs are in general either incapable of judging what country is
suitable for producing good pictures, or they do not take into consideration the
peculiar capacity of the artist and the object he may have in view. The best advice
for the beginner is to be obtained from some experienced artist friend, who, when he
understands what is the object of the tour, the length of time allotted to it, and the
kind of materials to be employed, will be qualified to judge of the mode in which
they may be used to the greatest advantage. A little vade-mecum of tours, for
young landscape artists, might well be written by an experienced traveller and