DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.19950#0012
INTRODUCTION.
so—not from what they now see, but from abstract recol-
lections of the colour of the leaves of winch the tree is
composed—forgetful that the tree itself assumes all kinds
of hues according to the light that is cast on it, and the
density of the atmosphere through which it is seen. This
is the grand failing of which you must try to divest your
eye. Let your eye alone guide you. Put away previous
knowledge, and be taught by what you really see now.
Endeavour to see with the eye of an artist. Look for the
variations of colour you see artists use; you may be sure
they exist in Nature, or else the pictures you admire could
not be so life-like. True, they may be a little exaggerated,
but how woidd your sketches look if they were simply ex-
aggerated ? "Would they not look more green, more un-
natural than they do at present ? Howard says : " As
it is impossible with pigments to rival the brightness of
light, it has been found necessary to adopt some method
of forcing the effect of colours, so as to conceal or to
supply a compensation for this deficiency, and apparently
to produce the vigour of truth you must learn, then,
how to exaggerate, or " force the effect55 of colours by con-
trast, (see Chap, iv.), but this without impairing the truth
and purity of the lights. Your touch may be heavy at
first, but if you once get power, gentleness of contrast
will follow with practice and study. Power is the quality
that strikes the eye, and places the savans above the tyro.
A resident in Ceylon brought to this country a collection
of very correct but utterly spiritless coloured drawings—
illustrations of his travels in the island. On placing them
so—not from what they now see, but from abstract recol-
lections of the colour of the leaves of winch the tree is
composed—forgetful that the tree itself assumes all kinds
of hues according to the light that is cast on it, and the
density of the atmosphere through which it is seen. This
is the grand failing of which you must try to divest your
eye. Let your eye alone guide you. Put away previous
knowledge, and be taught by what you really see now.
Endeavour to see with the eye of an artist. Look for the
variations of colour you see artists use; you may be sure
they exist in Nature, or else the pictures you admire could
not be so life-like. True, they may be a little exaggerated,
but how woidd your sketches look if they were simply ex-
aggerated ? "Would they not look more green, more un-
natural than they do at present ? Howard says : " As
it is impossible with pigments to rival the brightness of
light, it has been found necessary to adopt some method
of forcing the effect of colours, so as to conceal or to
supply a compensation for this deficiency, and apparently
to produce the vigour of truth you must learn, then,
how to exaggerate, or " force the effect55 of colours by con-
trast, (see Chap, iv.), but this without impairing the truth
and purity of the lights. Your touch may be heavy at
first, but if you once get power, gentleness of contrast
will follow with practice and study. Power is the quality
that strikes the eye, and places the savans above the tyro.
A resident in Ceylon brought to this country a collection
of very correct but utterly spiritless coloured drawings—
illustrations of his travels in the island. On placing them