DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.42850#0036
GLENFINLAS.
rnHE accompanying' drawing is taken from the entrance of Glenfinlas, near the Brig of Turk and the
I Trosachs, and is selected as my second subject for its extreme simplicity of character; because I see in
it a great variety of broad masses of form, combining, as it does, mountain, moorland, and a rudely picturesque
Highland hut. The scene is given, exactly as I saw it, without addition or alteration. Indeed, there was
no need for either, as every object was calculated to compose agreeably, and to produce a pleasing result.
Nothing can exceed the charm of colour frequently found on old thatch. The patches of different grasses
growing to seed upon it exhibit every description of tint; while the weather-stricken thatch itself assumes
indefinite compounds of russet, brown, and purple greys. It is from such little “ bits ” that the artist
gleans much knowledge of harmonising and natural blending, enabling him to bring the force of his
palette into action, and yet keep clear of unpleasant or crude brightness. The lines of the cottage are
broken by the position of several poles leaning against the roof; and as these have neither similarity in
direction, nor equi-distance from one another, they present no stiffness or apparent design. There is also
great diversity in the sloping roof; not only as regards colour, but also in its several layers or demarcations,
which help to make up an agreeable, although broken, whole; while the chimney, with its slaty top,
gives a point of darkness and intensity. The peat at the side of the cottage is well placed for giving
depth of shade and warmth of colour. Such scenes as this the amateur should seek for his pencil; because,
the component objects being few in number, there is little difficulty in dealing with them without confusion,
or in tracing the manner in which the combinations of colours are effected. A far-off mountain, backed
by light and flying clouds; a middle distance of broken undulating moorland; a cottage by the roadside,
based by patches of grass; a large fragment or two of stone; a stone wall; and three small trees, compose
the whole of the scene before us; with the exception of the horse and cart, which are introduced to convey
action, force, and interest. The mountain is beautiful in form, and its rugged outline desirable, to prevent
formality. It is also so placed with one of its sides warm, and the other cool in tone, as to receive a
breadth of light and shadow. The lines of the middle distance, being curved in different directions, assist
very naturally to give elevation and dignity to it; and the warm citrine yellow tone, with purple and
laky heather, serve to send it far away into aerial grey. There is often much difficulty in giving expression
to a large mass of moorland or hillside, unless the surface is extremely irregular; and, even then, we are
not made cognizant of those features of character so requisite to portray, until some sudden gleam of
sunshine lights up the more prominent parts, or, on the other hand, some passing clouds produce dark
and telling divisions by their cast shadows.
I would deeply recommend all whose pencil is employed on moorland scenery, to notice the several
undulations, and in what direction they continue, and where they terminate. It will be upon a correct
disposition of these lines that distances will depend; for it is not unusual that several miles of space have
to be expressed upon what would appear to a casual observer nothing more than a flat surface void
of interest. When alluding to the charming and varied effects of moors and downs, I would recall to
memory the exquisite productions of Copley Fielding; because many of them are truly beautiful, and exhibit
a most poetic and refined feeling for Nature and Art.
In the present drawing, there is, in point of colour, great simplicity, harmony, and contrast, with
a broad effect of daylight. The sky and clouds are cool and light in tint. The distant mountain rises
rnHE accompanying' drawing is taken from the entrance of Glenfinlas, near the Brig of Turk and the
I Trosachs, and is selected as my second subject for its extreme simplicity of character; because I see in
it a great variety of broad masses of form, combining, as it does, mountain, moorland, and a rudely picturesque
Highland hut. The scene is given, exactly as I saw it, without addition or alteration. Indeed, there was
no need for either, as every object was calculated to compose agreeably, and to produce a pleasing result.
Nothing can exceed the charm of colour frequently found on old thatch. The patches of different grasses
growing to seed upon it exhibit every description of tint; while the weather-stricken thatch itself assumes
indefinite compounds of russet, brown, and purple greys. It is from such little “ bits ” that the artist
gleans much knowledge of harmonising and natural blending, enabling him to bring the force of his
palette into action, and yet keep clear of unpleasant or crude brightness. The lines of the cottage are
broken by the position of several poles leaning against the roof; and as these have neither similarity in
direction, nor equi-distance from one another, they present no stiffness or apparent design. There is also
great diversity in the sloping roof; not only as regards colour, but also in its several layers or demarcations,
which help to make up an agreeable, although broken, whole; while the chimney, with its slaty top,
gives a point of darkness and intensity. The peat at the side of the cottage is well placed for giving
depth of shade and warmth of colour. Such scenes as this the amateur should seek for his pencil; because,
the component objects being few in number, there is little difficulty in dealing with them without confusion,
or in tracing the manner in which the combinations of colours are effected. A far-off mountain, backed
by light and flying clouds; a middle distance of broken undulating moorland; a cottage by the roadside,
based by patches of grass; a large fragment or two of stone; a stone wall; and three small trees, compose
the whole of the scene before us; with the exception of the horse and cart, which are introduced to convey
action, force, and interest. The mountain is beautiful in form, and its rugged outline desirable, to prevent
formality. It is also so placed with one of its sides warm, and the other cool in tone, as to receive a
breadth of light and shadow. The lines of the middle distance, being curved in different directions, assist
very naturally to give elevation and dignity to it; and the warm citrine yellow tone, with purple and
laky heather, serve to send it far away into aerial grey. There is often much difficulty in giving expression
to a large mass of moorland or hillside, unless the surface is extremely irregular; and, even then, we are
not made cognizant of those features of character so requisite to portray, until some sudden gleam of
sunshine lights up the more prominent parts, or, on the other hand, some passing clouds produce dark
and telling divisions by their cast shadows.
I would deeply recommend all whose pencil is employed on moorland scenery, to notice the several
undulations, and in what direction they continue, and where they terminate. It will be upon a correct
disposition of these lines that distances will depend; for it is not unusual that several miles of space have
to be expressed upon what would appear to a casual observer nothing more than a flat surface void
of interest. When alluding to the charming and varied effects of moors and downs, I would recall to
memory the exquisite productions of Copley Fielding; because many of them are truly beautiful, and exhibit
a most poetic and refined feeling for Nature and Art.
In the present drawing, there is, in point of colour, great simplicity, harmony, and contrast, with
a broad effect of daylight. The sky and clouds are cool and light in tint. The distant mountain rises