DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.42850#0041
18
THE FIRST PEEP OF GRASMERE FROM THE KESWICK ROAD.
is considerable arrangement in the clusters of branches, not only as affecting the outside of the tree, but
also its interior; and it is upon a just perception of the chief of them that the general character of form
will depend. When trees occupy a conspicuous position, it is imperative that their forms should be gracefully
drawn, so that they may recommend themselves to the spectator. Otherwise, they fail to give interest
or excite pleasure. It is, therefore, to the outside foliage and to the graceful curvature of lines—noting
whence the foliage proceeds—-that we must direct the special attention ; afterwards filling in the clusters of
hanging boughs in front of the stems. If this be well done, an agreeable effect will be produced; but if
not, clusters or solid masses of impossible forms are very likely to present themselves. Of course every
tree has a peculiar growth of its own, a knowledge of which can only be gained by drawing it from Nature,
with the full determination to study its individual character, both of stem and foliag'e.
In the treatment of Git ass there is also a general failure, and this I attribute to the same non-appreciation
of form that we find in regard to foliage. Nothing conduces more to the effect of a picture than a pleasing
distribution of patches of grass in the foreground. The colour they bear, in contrast to the ground whence
they spring, naturally gives very decided features of form, and as these are so immediately in the front, they
produce the greatest influence upon the eye, either for an agreeable impression or otherwise. An artist
is so well aware of this fact, that he is often put to much trouble before he can produce a satisfactory
arrangement; and not until he has done this, is he inclined to turn his attention to other portions of the
work. In the accompanying drawing there is much practice of the kind, and it will be seen that, not
only do the forms or direction of lines of grass undulate naturally, but that the several masses are also of
different quantities and considerably varied in tone of colour. It is upon the outside lines of the grass that
the forms of the road, the path, and the watercourse depend; so that here is another reason (and a very
important one) for giving study and careful drawing to this part of the sketch.
The detached bits of Stone are, in their turn, useful by position, to direct the eye to the sides and
centre; and this they do by assuming a crescent-like form round the foreground. The upright figure repeats
the perpendicular lines of the trees.
There is but little actual light in the drawing, the general impression being that of half-tone, and the
only positive dark is upon the figure, which, from its blue, red, and brown drapery, imparts a mildness of
tint to all around. The highest or brightest yellow light is upon the centre of the distant vale, while the
light stone to the left under the tree, and those by the watercourse to the right, invite attention to the
entire foreground. I will only add, that where there is an absence of deep and powerful shadows, great
judgment must of necessity be applied to balancing the warm and cool tints; and to this the student cannot
too soon direct his attention.
The colours employed were, for the—-
Sky—Cobalt.
Clouds—Sepia, cobalt, and a little lake.
Mountains—Cobalt, lake; yellow ochre, with a glazing of gamboge and raw sienna on the yellow part,
raw sienna and lake on the red; and terre verte on the green parts.
Middle Distance—Raw sienna and yellow ochre for a first wash. Cobalt, lake, and raw sienna, for the
markings. Raw sienna and lake for the spaces between; for the highest light, gamboge and
lemon-yellow.
Trees and Grass—Gamboge, bright sienna, and indigo; a little sepia introduced for the dark shadowe.
A glazing of terre verte on parts of the greener tones.
Stems, and Shadows of Roads and Stones—Sepia, lake, indigo.
Light Tint of Road—Yellow ochre, lake, sepia.
THE FIRST PEEP OF GRASMERE FROM THE KESWICK ROAD.
is considerable arrangement in the clusters of branches, not only as affecting the outside of the tree, but
also its interior; and it is upon a just perception of the chief of them that the general character of form
will depend. When trees occupy a conspicuous position, it is imperative that their forms should be gracefully
drawn, so that they may recommend themselves to the spectator. Otherwise, they fail to give interest
or excite pleasure. It is, therefore, to the outside foliage and to the graceful curvature of lines—noting
whence the foliage proceeds—-that we must direct the special attention ; afterwards filling in the clusters of
hanging boughs in front of the stems. If this be well done, an agreeable effect will be produced; but if
not, clusters or solid masses of impossible forms are very likely to present themselves. Of course every
tree has a peculiar growth of its own, a knowledge of which can only be gained by drawing it from Nature,
with the full determination to study its individual character, both of stem and foliag'e.
In the treatment of Git ass there is also a general failure, and this I attribute to the same non-appreciation
of form that we find in regard to foliage. Nothing conduces more to the effect of a picture than a pleasing
distribution of patches of grass in the foreground. The colour they bear, in contrast to the ground whence
they spring, naturally gives very decided features of form, and as these are so immediately in the front, they
produce the greatest influence upon the eye, either for an agreeable impression or otherwise. An artist
is so well aware of this fact, that he is often put to much trouble before he can produce a satisfactory
arrangement; and not until he has done this, is he inclined to turn his attention to other portions of the
work. In the accompanying drawing there is much practice of the kind, and it will be seen that, not
only do the forms or direction of lines of grass undulate naturally, but that the several masses are also of
different quantities and considerably varied in tone of colour. It is upon the outside lines of the grass that
the forms of the road, the path, and the watercourse depend; so that here is another reason (and a very
important one) for giving study and careful drawing to this part of the sketch.
The detached bits of Stone are, in their turn, useful by position, to direct the eye to the sides and
centre; and this they do by assuming a crescent-like form round the foreground. The upright figure repeats
the perpendicular lines of the trees.
There is but little actual light in the drawing, the general impression being that of half-tone, and the
only positive dark is upon the figure, which, from its blue, red, and brown drapery, imparts a mildness of
tint to all around. The highest or brightest yellow light is upon the centre of the distant vale, while the
light stone to the left under the tree, and those by the watercourse to the right, invite attention to the
entire foreground. I will only add, that where there is an absence of deep and powerful shadows, great
judgment must of necessity be applied to balancing the warm and cool tints; and to this the student cannot
too soon direct his attention.
The colours employed were, for the—-
Sky—Cobalt.
Clouds—Sepia, cobalt, and a little lake.
Mountains—Cobalt, lake; yellow ochre, with a glazing of gamboge and raw sienna on the yellow part,
raw sienna and lake on the red; and terre verte on the green parts.
Middle Distance—Raw sienna and yellow ochre for a first wash. Cobalt, lake, and raw sienna, for the
markings. Raw sienna and lake for the spaces between; for the highest light, gamboge and
lemon-yellow.
Trees and Grass—Gamboge, bright sienna, and indigo; a little sepia introduced for the dark shadowe.
A glazing of terre verte on parts of the greener tones.
Stems, and Shadows of Roads and Stones—Sepia, lake, indigo.
Light Tint of Road—Yellow ochre, lake, sepia.