DOI Page / Citation link:
https://doi.org/10.11588/diglit.2086#0204
174
LANDSCAPE PAINTING.
joined to feebleness in the effect. It is generally the result of a want of boldness
in laying on the colour in sufficient quantity; the opposite extreme arises from
using too much, and so loading on the colour until all becomes heavy and opaque.
Experience in the use of his materials, added to a knowledge of their effect, will
prevent the young student from falling into these errors.
It now remains but to speak of the way in which ideas of form, colour, &c, are
expressed; or, as it is generally called, the " execution" of the picture.
If the student has been well instructed in the elementary parts of art, his hand
trained to move with freedom and grace in all directions, whether holding the
pencil or brush; and if at the same time he is aware of the power belonging to
both instruments, his manner of execution will be bold and rapid, and from an
appearance of ease in the execution, convey pleasure to the spectator. Still his
chief aim should be so to use this power that, -without drawing attention to itself
as if the touches or strokes of themselves were beautiful, or as if they showed great
boldness and facility, and without any apparent effort, he may give to each
portion of his subject that quality which it ought to possess; thus, trees, grass,
rocks, water, or clouds will all be distinguished with facility, each being at once
recognized, not only by its colour, but by the other qualities belonging to it, such
as hardness combined with roughness of texture in rocks, looseness and leanness in
foliage, liquid transparency joined to the appearance of motion in water, while
clouds will give the idea of vapours floating in the air. All parts of his work, in
fact, should have their peculiar properties or character imparted to them, causing
them to hold the same position in the picture which they do in nature, and thereby
giving the additional charm of a graceful " execution."
LANDSCAPE PAINTING.
joined to feebleness in the effect. It is generally the result of a want of boldness
in laying on the colour in sufficient quantity; the opposite extreme arises from
using too much, and so loading on the colour until all becomes heavy and opaque.
Experience in the use of his materials, added to a knowledge of their effect, will
prevent the young student from falling into these errors.
It now remains but to speak of the way in which ideas of form, colour, &c, are
expressed; or, as it is generally called, the " execution" of the picture.
If the student has been well instructed in the elementary parts of art, his hand
trained to move with freedom and grace in all directions, whether holding the
pencil or brush; and if at the same time he is aware of the power belonging to
both instruments, his manner of execution will be bold and rapid, and from an
appearance of ease in the execution, convey pleasure to the spectator. Still his
chief aim should be so to use this power that, -without drawing attention to itself
as if the touches or strokes of themselves were beautiful, or as if they showed great
boldness and facility, and without any apparent effort, he may give to each
portion of his subject that quality which it ought to possess; thus, trees, grass,
rocks, water, or clouds will all be distinguished with facility, each being at once
recognized, not only by its colour, but by the other qualities belonging to it, such
as hardness combined with roughness of texture in rocks, looseness and leanness in
foliage, liquid transparency joined to the appearance of motion in water, while
clouds will give the idea of vapours floating in the air. All parts of his work, in
fact, should have their peculiar properties or character imparted to them, causing
them to hold the same position in the picture which they do in nature, and thereby
giving the additional charm of a graceful " execution."