DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.42850#0037
16
GLENFTNLAS.
with much tenderness of tone, deepening- towards the extreme outline. Opposed to this is the citrine or
yellow-tinged moorland, with its delicate markings and shadows of warm russet purples; the yellows causing
the greys to appear more aerial, and the half-toned shadows throwing the mass far into distance. The
local tones of the motley-coloured roof, poles, and stone walls, give a soft appearance to the mass of
moorland, placing it at once in the middle distance. And, again, the broad grey shadow of the cottage
side gives an increase of vigour to the local colours. The brightest lights in the drawing will be found
on the cottage wall, it being requisite that these should be clear and attractive. Next in degree of light
is the road, with the intervals between the patches of grass, and so diffused as to cause the eye to regard
the whole of the foreground. The shadows of the stone wall to the left, and across the road, connect the
sides of the drawing, and repeat the tones of grey dispersed throughout it. For this purpose also, the
shadows on the fragments of rock are of much service, as well as those of a warm colour. The cart is
so placed as to repeat the tone of the stone wall; and the black horse, to give a point of concentration;
while the colour of the figures subdues the whole. The position of the trees, encircling the subject with
their deep and broken greens, is also valuable.
The colours employed were, for the
Sky—Cobalt.
Clouds—Cobalt, sepia, and a little lake.
Mountain—Cobalt, lake; yellow ochre, shaded with cobalt and lake; a light wash of raw sienna and
lake on the top, and of terre verte on the lower part.
Moorland or Middle Distance—A wash of yellow ochre and raw sienna over the whole. For the
markings of shadows and forms, raw sienna, cobalt and lake; after which a few glazings of raw
sienna and lake, and of terre verte in the green shades between the several markings.
Cottage Roof and Poles—Cobalt, lake, and raw sienna; sepia being added for the deep shadows and
markings.
Cottage Wall in Shadow—Sepia, lake, and cobalt.
Peat—Brown madder for the lights, and brown madder and sepia for the shadows.
Grass—Gamboge, burnt sienna, and indigo.
Trees—-Gamboge, burnt sienna, and indigo, in some depth of colour.
Shadow on Road—Sepia, lake, and indigo; a little gamboge added for the stone walk
Shadows of Large Stones—Sepia, lake, and indigo, with a glazing of terre verte.
Colour of the Road—Yellow ochre, a little lake, and sepia.
Warm Stones—Yellow ochre and lake.
Cart—Sepia and yellow ochre, shaded with sepia, lake, and indigo.
Figure—Lake, shaded with sepia.
Horse—Sepia, lake and indigo.
Stones on the Cottage Wall—Modification of raw sienna, lake, cobalt, and sepia.
GLENFTNLAS.
with much tenderness of tone, deepening- towards the extreme outline. Opposed to this is the citrine or
yellow-tinged moorland, with its delicate markings and shadows of warm russet purples; the yellows causing
the greys to appear more aerial, and the half-toned shadows throwing the mass far into distance. The
local tones of the motley-coloured roof, poles, and stone walls, give a soft appearance to the mass of
moorland, placing it at once in the middle distance. And, again, the broad grey shadow of the cottage
side gives an increase of vigour to the local colours. The brightest lights in the drawing will be found
on the cottage wall, it being requisite that these should be clear and attractive. Next in degree of light
is the road, with the intervals between the patches of grass, and so diffused as to cause the eye to regard
the whole of the foreground. The shadows of the stone wall to the left, and across the road, connect the
sides of the drawing, and repeat the tones of grey dispersed throughout it. For this purpose also, the
shadows on the fragments of rock are of much service, as well as those of a warm colour. The cart is
so placed as to repeat the tone of the stone wall; and the black horse, to give a point of concentration;
while the colour of the figures subdues the whole. The position of the trees, encircling the subject with
their deep and broken greens, is also valuable.
The colours employed were, for the
Sky—Cobalt.
Clouds—Cobalt, sepia, and a little lake.
Mountain—Cobalt, lake; yellow ochre, shaded with cobalt and lake; a light wash of raw sienna and
lake on the top, and of terre verte on the lower part.
Moorland or Middle Distance—A wash of yellow ochre and raw sienna over the whole. For the
markings of shadows and forms, raw sienna, cobalt and lake; after which a few glazings of raw
sienna and lake, and of terre verte in the green shades between the several markings.
Cottage Roof and Poles—Cobalt, lake, and raw sienna; sepia being added for the deep shadows and
markings.
Cottage Wall in Shadow—Sepia, lake, and cobalt.
Peat—Brown madder for the lights, and brown madder and sepia for the shadows.
Grass—Gamboge, burnt sienna, and indigo.
Trees—-Gamboge, burnt sienna, and indigo, in some depth of colour.
Shadow on Road—Sepia, lake, and indigo; a little gamboge added for the stone walk
Shadows of Large Stones—Sepia, lake, and indigo, with a glazing of terre verte.
Colour of the Road—Yellow ochre, a little lake, and sepia.
Warm Stones—Yellow ochre and lake.
Cart—Sepia and yellow ochre, shaded with sepia, lake, and indigo.
Figure—Lake, shaded with sepia.
Horse—Sepia, lake and indigo.
Stones on the Cottage Wall—Modification of raw sienna, lake, cobalt, and sepia.