DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.42850#0044
AT LOSS, ON LOCH LOMOND.
rrUIERE is a little deviation in this drawing1 from the out-door sketching, because I am desirous of
JL combining the character o£ the three previous subjects, and so affording to many of my students
an opportunity of putting into practice the several objects before noticed.
In this drawing there is scarcely anything but what may be deemed local, and that of such size as to
give free scope for copying forms with literal correctness. I use the term Ci literal correctness/'’as rather
implying a truthful impression, than that elaborate and minute attention to individual detail which is
now generally understood by the word “ Pre-Raphaelitism” Each portion of the cottages, for instance,
is to be carefully drawn in with blacklead pencil, showing the various demarcations of thatch, wood, and
stone. Nothing is more improving in a manipulative point of view, nor, indeed, in an intellectual one, than
this kind of practice; for there must of necessity be much thought brought to bear on giving to each object
and every part of it a veritableness of resemblance, so that there can be no mistaking the thing intended
Over and over again do I hear the remark, “ I thought it was not requisite to draw so much with the
pencil, when there was colour to be put on.” A greater mistake than this there cannot be, for if colour
has to be used, it is essential that the precise position for it should be accurately marked and well drawn;
inasmuch as the pencil is often of the greatest use in keeping up the crispness of outline definition. This
cannot be too much insisted upon, it being by the pencil that the first impression has to be made and
the foundation laid for success in after treatment. To each stone there is a form; to each branch
there is a form; to each patch of grass there is a form; the chimney, the windows, the thatch,
the old broken door, the boat, all have forms peculiarly their own; and it is only upon a just regard
to each that they can be presented to the spectator in an intelligible and agreeable manner, and the
end be at the same time attained of investing the scene—be it what it may—with a truthful character.
I fear that some may think I have dwelt almost too much upon a careful pencil outline; but this is
of such importance to a successful drawing, that it were far better I should appear too particular than not
be particular enough; and I therefore repeat that nothing lies nearer the root of failure than a vague
and hurried outline; while, on the other hand, an industrious and a carefully studied one is perhaps one
of the greatest elements of success.
The present subject is given with great clearness of form throughout. The light and shade, as well
as contrast of colour, are sufficiently pronounced to convey the idea of breadth, and at the same time to
keep transparency in every part; that is, to give colour and depth without a tendency to blackness. The
sky is of a cool grey, for the purpose of showing the warm colouring of the cottages to greater advantage.
Whenever there are masses of tones inclining to orange, citrine, or red, it is necessary to have some corre-
sponding masses of grey, in order to establish a requisite amount of repose and quiet; but these must be
so treated as not to disturb or check the harmony by a suddenness of transition.
The dark tones of the clouds are repeated by the shadows on the mountain at the opposite side, the warm
tints of which also repeat in a subdued degree the orange and laky hues of the thatch. These are again
diffused over the walls of the cottages by the colours of the stones, and the grey shadows of the walls being
warmer than the clouds, are adapted to cause them to advance, esjoecially as the several glazings introduced
are calculated to cause the eye to traverse over the whole breadth in an agreeable manner. It is on the
decided edges of these shadows that the gleams of sunlight depend for their “ catchy13 vividness. The
upturned boat, being separated from the cottages and the shadow of the road, partakes of the
warm
rrUIERE is a little deviation in this drawing1 from the out-door sketching, because I am desirous of
JL combining the character o£ the three previous subjects, and so affording to many of my students
an opportunity of putting into practice the several objects before noticed.
In this drawing there is scarcely anything but what may be deemed local, and that of such size as to
give free scope for copying forms with literal correctness. I use the term Ci literal correctness/'’as rather
implying a truthful impression, than that elaborate and minute attention to individual detail which is
now generally understood by the word “ Pre-Raphaelitism” Each portion of the cottages, for instance,
is to be carefully drawn in with blacklead pencil, showing the various demarcations of thatch, wood, and
stone. Nothing is more improving in a manipulative point of view, nor, indeed, in an intellectual one, than
this kind of practice; for there must of necessity be much thought brought to bear on giving to each object
and every part of it a veritableness of resemblance, so that there can be no mistaking the thing intended
Over and over again do I hear the remark, “ I thought it was not requisite to draw so much with the
pencil, when there was colour to be put on.” A greater mistake than this there cannot be, for if colour
has to be used, it is essential that the precise position for it should be accurately marked and well drawn;
inasmuch as the pencil is often of the greatest use in keeping up the crispness of outline definition. This
cannot be too much insisted upon, it being by the pencil that the first impression has to be made and
the foundation laid for success in after treatment. To each stone there is a form; to each branch
there is a form; to each patch of grass there is a form; the chimney, the windows, the thatch,
the old broken door, the boat, all have forms peculiarly their own; and it is only upon a just regard
to each that they can be presented to the spectator in an intelligible and agreeable manner, and the
end be at the same time attained of investing the scene—be it what it may—with a truthful character.
I fear that some may think I have dwelt almost too much upon a careful pencil outline; but this is
of such importance to a successful drawing, that it were far better I should appear too particular than not
be particular enough; and I therefore repeat that nothing lies nearer the root of failure than a vague
and hurried outline; while, on the other hand, an industrious and a carefully studied one is perhaps one
of the greatest elements of success.
The present subject is given with great clearness of form throughout. The light and shade, as well
as contrast of colour, are sufficiently pronounced to convey the idea of breadth, and at the same time to
keep transparency in every part; that is, to give colour and depth without a tendency to blackness. The
sky is of a cool grey, for the purpose of showing the warm colouring of the cottages to greater advantage.
Whenever there are masses of tones inclining to orange, citrine, or red, it is necessary to have some corre-
sponding masses of grey, in order to establish a requisite amount of repose and quiet; but these must be
so treated as not to disturb or check the harmony by a suddenness of transition.
The dark tones of the clouds are repeated by the shadows on the mountain at the opposite side, the warm
tints of which also repeat in a subdued degree the orange and laky hues of the thatch. These are again
diffused over the walls of the cottages by the colours of the stones, and the grey shadows of the walls being
warmer than the clouds, are adapted to cause them to advance, esjoecially as the several glazings introduced
are calculated to cause the eye to traverse over the whole breadth in an agreeable manner. It is on the
decided edges of these shadows that the gleams of sunlight depend for their “ catchy13 vividness. The
upturned boat, being separated from the cottages and the shadow of the road, partakes of the
warm