DOI Page / Citation link:
https://doi.org/10.11588/diglit.42850#0013
INTRODUCTION.
IN the present clay, there is such an increasing love for water-colour Art, and such a wish
for its attainment, that it is most desirable there should be every assistance afforded to the
student, whereby he shall be enabled to cany it out with some little degree of certainty.
Nature is so varied, and her effects so numberless, that it is impossible to present too many
examples for her study. Nevertheless, although the range of subjects is unlimited, and the
field for picturesque charms so ever recurrent, yet the treatment of landscape-painting can,
without doubt, be disposed of in some methodical manner, by which a progressive execution
can be made somewhat plain to most minds. Although much has been written upon the
subject, yet there is much that needs to be written; and so, indeed, there always must be,
from the fact of scenic representation being so inexhaustible. It will therefore be superfluous
to offer any apology for introducing the following pages by way of instruction. The purport
of the present work is to guide the sketcher in the use of his colours, as well as to point out
the importance of good and truthful drawing, and, indeed, to present to him the means and
the manner of the manipulation. Its object is also to create a love for Nature, by dwelling
upon her beauties, and unfolding, to some extent, in what those beauties consist; while it
affects to lead to a slight knowledge of the construction of a drawing, and how Art is
brought to bear upon a scene, so as to impart to it an increased interest, and consequent
loveliness.
The treatment of two of the illustrations is given in different stages of progression; but
it is not intended that the work should be of such an elementary character as to assume that
those who study from it are entirely ignorant of water-colour drawing. It rather supposes
previous practice and tuition; and, under this impression, it introduces to the amateur
subjects likely to lead him on to a more clear and definite comprehension as to how they are
begun, continued, and brought to completion. There are no details left unnoticed that shall
in any way leave the pupil in a state of uncertainty; yet it does not profess to give the
power to colour and manipulate successfully without a corresponding effort of the mind on
the part of the pupil, and a fair amount of practice. Both these there must be, as without
them nothing can be achieved. They are indispensable.
I have great hope that the coloured examples in this present volume, and the full
explanation given with each of them, will prove of’ great utility to the inquiring amateur, and
that it will meet with that appreciation it has been my sincere study it should deserve.
IN the present clay, there is such an increasing love for water-colour Art, and such a wish
for its attainment, that it is most desirable there should be every assistance afforded to the
student, whereby he shall be enabled to cany it out with some little degree of certainty.
Nature is so varied, and her effects so numberless, that it is impossible to present too many
examples for her study. Nevertheless, although the range of subjects is unlimited, and the
field for picturesque charms so ever recurrent, yet the treatment of landscape-painting can,
without doubt, be disposed of in some methodical manner, by which a progressive execution
can be made somewhat plain to most minds. Although much has been written upon the
subject, yet there is much that needs to be written; and so, indeed, there always must be,
from the fact of scenic representation being so inexhaustible. It will therefore be superfluous
to offer any apology for introducing the following pages by way of instruction. The purport
of the present work is to guide the sketcher in the use of his colours, as well as to point out
the importance of good and truthful drawing, and, indeed, to present to him the means and
the manner of the manipulation. Its object is also to create a love for Nature, by dwelling
upon her beauties, and unfolding, to some extent, in what those beauties consist; while it
affects to lead to a slight knowledge of the construction of a drawing, and how Art is
brought to bear upon a scene, so as to impart to it an increased interest, and consequent
loveliness.
The treatment of two of the illustrations is given in different stages of progression; but
it is not intended that the work should be of such an elementary character as to assume that
those who study from it are entirely ignorant of water-colour drawing. It rather supposes
previous practice and tuition; and, under this impression, it introduces to the amateur
subjects likely to lead him on to a more clear and definite comprehension as to how they are
begun, continued, and brought to completion. There are no details left unnoticed that shall
in any way leave the pupil in a state of uncertainty; yet it does not profess to give the
power to colour and manipulate successfully without a corresponding effort of the mind on
the part of the pupil, and a fair amount of practice. Both these there must be, as without
them nothing can be achieved. They are indispensable.
I have great hope that the coloured examples in this present volume, and the full
explanation given with each of them, will prove of’ great utility to the inquiring amateur, and
that it will meet with that appreciation it has been my sincere study it should deserve.