DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.19950#0054
54
VARIETY.
desirable, the great and all-pervading principle of Breadth.
Still, breadth must not be confounded with monotony.
Though we must avoid losing breadth in cutting up the
masses, yet we can carry a broad effect through the picture
without losing variety. In trees, for instance, there is such
an endless variety of available tints, that we may be
chargeable with indolence if we do not make use of them.
In pencil we can onlv mve the varieties of light-and-
shade and reflection; but in painting you need not
proceed an inch without varying, if you choose, the colour
as well as the chiaroscuro. In a tree, for instance, some
parts are in light, and others in shadow—some leaves are
tinged with autumnal gold, and others are still green—
here a catching sunlight effect on a spray, and there
a solemn, sombre depth of foliage. The parts in light
again afford opportunity for variety of hue; the retiring
parts falling into half tint, which is more or less grey, and
the local colours varying from the palest yellow, through,
rich greens, to the fullest reds and browns.
In banks and roads, again, channelled with ruts and
water-courses, we shall find plenty of variety of colour, as
well as of light and shade. The strata of an earthy bank
may always be traced—one part decidedly grey, another
darkish red, another brown, all giving the charm we seek.
Even in artificial roads there are the ruts and markings—
perhaps the paler sand washed up by a fall of rain—at
any rate the gradation of light-and-shade; and we can
here accomplish, much by breaking the tint, and thus get
crispness in the lights. We have also the variety given by
VARIETY.
desirable, the great and all-pervading principle of Breadth.
Still, breadth must not be confounded with monotony.
Though we must avoid losing breadth in cutting up the
masses, yet we can carry a broad effect through the picture
without losing variety. In trees, for instance, there is such
an endless variety of available tints, that we may be
chargeable with indolence if we do not make use of them.
In pencil we can onlv mve the varieties of light-and-
shade and reflection; but in painting you need not
proceed an inch without varying, if you choose, the colour
as well as the chiaroscuro. In a tree, for instance, some
parts are in light, and others in shadow—some leaves are
tinged with autumnal gold, and others are still green—
here a catching sunlight effect on a spray, and there
a solemn, sombre depth of foliage. The parts in light
again afford opportunity for variety of hue; the retiring
parts falling into half tint, which is more or less grey, and
the local colours varying from the palest yellow, through,
rich greens, to the fullest reds and browns.
In banks and roads, again, channelled with ruts and
water-courses, we shall find plenty of variety of colour, as
well as of light and shade. The strata of an earthy bank
may always be traced—one part decidedly grey, another
darkish red, another brown, all giving the charm we seek.
Even in artificial roads there are the ruts and markings—
perhaps the paler sand washed up by a fall of rain—at
any rate the gradation of light-and-shade; and we can
here accomplish, much by breaking the tint, and thus get
crispness in the lights. We have also the variety given by