DOI Page / Citation link:
https://doi.org/10.11588/diglit.2086#0127
FOREGROUNDS. 109
and forms for the foreground as have reference to the rest of the subject, they being
indeed some of the objects in the picture brought close to the eye; and the culti-
vated taste of the artist will lead him to reject forms not characteristic, or which
repeat those of the distance. From the continual action of rain or falling water,
the forms of rocks, stones, and banks in the foreground will be convex; and
although the most picturesque roads are strongly marked by ruts and inequalities,
and banks or ground may be greatly varied by scattered rocks and broken surfaces,
they should not bear the appearance of being newly disturbed, but be naturally placed ;
and, besides paying attention to the varieties of local colour, the appropriate light
and shade must be given to each part.
It is sometimes alleged, as an excuse for inaccurate or careless drawing of the
foreground, that it is not distinctly seen when the eye rests on the middle or
extreme distance, it being at such time out of the focus of the eye. Doubtless it
is so; but pictures are not to be judged by the strict laws of optics—they are altoge-
ther conventional; in nature we cannot look at the distance and foreground without
imperceptibly altering the focus of the eye; neither can we look at two portions of a
picture at the same moment, with attention, without altering the direction of the
eye ; it will, therefore, be sufficient if our studies afford us the power of giving a
general appearance of reality, reserving for the most careful finish those portions
of the picture intended to attract the eye of the spectator. The apparent want of
importance in some of the objects forming the foreground in the natural scene, and
the continual motion of others, cause the student to pass them over as unworthy of
notice; yet, in his after attempts to form pictures, there is scarcely any question
suggests itself more frequently than, "What shall I put in the foreground?"
Perhaps a few notes of actual conversations with an intelligent pupil on some of
these occasions would show more vividly the difficulties felt and the manner of
overcoming them; the student might then understand that paintings by our best
artists are not so much compositions made at home as they are the results of
careful studies and selections made at fortunate moments abroad. Thus they illus-
trate with great power the advantage of having the eye and attention trained to a
close observance of nature.
Notes.—Loch Duich—Heavy shower—Interior of a Hovel.—Pupil—" This
interruption is very vexatious, for I had nearly finished my sketch ; and although
some lines of the mountains were not fortunate in their arrangement, and there was
no foreground but a dismal peat-bog, that old castle, with the lake and mountains,
would have made a good subject."
Master—" While we wait, could we not draw these old peat baskets, spades, and
barrows, which lie on the ground ? Afterwards we will fill one of the baskets with
and forms for the foreground as have reference to the rest of the subject, they being
indeed some of the objects in the picture brought close to the eye; and the culti-
vated taste of the artist will lead him to reject forms not characteristic, or which
repeat those of the distance. From the continual action of rain or falling water,
the forms of rocks, stones, and banks in the foreground will be convex; and
although the most picturesque roads are strongly marked by ruts and inequalities,
and banks or ground may be greatly varied by scattered rocks and broken surfaces,
they should not bear the appearance of being newly disturbed, but be naturally placed ;
and, besides paying attention to the varieties of local colour, the appropriate light
and shade must be given to each part.
It is sometimes alleged, as an excuse for inaccurate or careless drawing of the
foreground, that it is not distinctly seen when the eye rests on the middle or
extreme distance, it being at such time out of the focus of the eye. Doubtless it
is so; but pictures are not to be judged by the strict laws of optics—they are altoge-
ther conventional; in nature we cannot look at the distance and foreground without
imperceptibly altering the focus of the eye; neither can we look at two portions of a
picture at the same moment, with attention, without altering the direction of the
eye ; it will, therefore, be sufficient if our studies afford us the power of giving a
general appearance of reality, reserving for the most careful finish those portions
of the picture intended to attract the eye of the spectator. The apparent want of
importance in some of the objects forming the foreground in the natural scene, and
the continual motion of others, cause the student to pass them over as unworthy of
notice; yet, in his after attempts to form pictures, there is scarcely any question
suggests itself more frequently than, "What shall I put in the foreground?"
Perhaps a few notes of actual conversations with an intelligent pupil on some of
these occasions would show more vividly the difficulties felt and the manner of
overcoming them; the student might then understand that paintings by our best
artists are not so much compositions made at home as they are the results of
careful studies and selections made at fortunate moments abroad. Thus they illus-
trate with great power the advantage of having the eye and attention trained to a
close observance of nature.
Notes.—Loch Duich—Heavy shower—Interior of a Hovel.—Pupil—" This
interruption is very vexatious, for I had nearly finished my sketch ; and although
some lines of the mountains were not fortunate in their arrangement, and there was
no foreground but a dismal peat-bog, that old castle, with the lake and mountains,
would have made a good subject."
Master—" While we wait, could we not draw these old peat baskets, spades, and
barrows, which lie on the ground ? Afterwards we will fill one of the baskets with