DOI Page / Citation link:
https://doi.org/10.11588/diglit.19950#0014
11
INTRODUCTION.
produce it; and this is attainable by every student who
will patiently observe Nature in connexion with the effects
he sees produced by Art. Kuan-ledge is the grand element
of decision in all things, and no less so in Painting; and we
should neglect no means placed at our disposal of attaining
that element. The same sources of information are open
to us that supplied the minds of Eubens and Titian, if we
will but resolve to apply them.
Now the peculiar feature of Scene Painting is what may
be called roughness, and what some people would apologize
for on the score of want of finish, by saying that more
finish is unimportant, for that at a distance it would not
be seen. But this is a very unfair and insufficient view of
the matter. Not only is there no occasion for more
"finish" in scene painting, but, properly speaking, it is
highly finished already. It is a mere question of focus,
for the most highly finished painting would look rough if
viewed through a microscope. To finish a picture is to
regulate and complete the various parts in conformity to
the whole; and this effect once accomplished, all beyond
tends to undo, instead of completing the picture, By
attempting more finish, you would obtain less; for the
real finish in scene painting is gained by keeping the tints
bold and firm, that they may blend well when viewed from
a distance: if you softened them you would lose the
charm of transparency. This is seen to be the case,
indeed, where scenery is painted by a timid hand. For
want of knowledge, the painter is afraid to leave his
colours bold and bare, and the consequence is insipidity :
INTRODUCTION.
produce it; and this is attainable by every student who
will patiently observe Nature in connexion with the effects
he sees produced by Art. Kuan-ledge is the grand element
of decision in all things, and no less so in Painting; and we
should neglect no means placed at our disposal of attaining
that element. The same sources of information are open
to us that supplied the minds of Eubens and Titian, if we
will but resolve to apply them.
Now the peculiar feature of Scene Painting is what may
be called roughness, and what some people would apologize
for on the score of want of finish, by saying that more
finish is unimportant, for that at a distance it would not
be seen. But this is a very unfair and insufficient view of
the matter. Not only is there no occasion for more
"finish" in scene painting, but, properly speaking, it is
highly finished already. It is a mere question of focus,
for the most highly finished painting would look rough if
viewed through a microscope. To finish a picture is to
regulate and complete the various parts in conformity to
the whole; and this effect once accomplished, all beyond
tends to undo, instead of completing the picture, By
attempting more finish, you would obtain less; for the
real finish in scene painting is gained by keeping the tints
bold and firm, that they may blend well when viewed from
a distance: if you softened them you would lose the
charm of transparency. This is seen to be the case,
indeed, where scenery is painted by a timid hand. For
want of knowledge, the painter is afraid to leave his
colours bold and bare, and the consequence is insipidity :