DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.42850#0068
STUDY OF STONES ON THE NORTH SIDE OF TALIARIS,
NEAR LLANDILO, SOUTH WALES.
TTIHEIIE are few details in the foreground of a picture of more value to its effect than detached groups
JL of stones, large or small. In no other objects do we find greater diversity of colour, although
composed of the same material; and it is quite true that, although masses from the parent rock lie side
by side, yet each and all vary in tint to an extraordinary degree. This offers us every desirable change
of tone whereby our foreground can be enriched; and groupings of stones are no less valuable for the
introduction of colour than for the distribution of light and shadow; for, being often the medium of some
concentrated light, they become, as it were, the key-tone or focus of a whole drawing. This, however,
will depend greatly, or, I should rather say, entirely on the character of the object. The introduction into
a scene of large stones (fallen or surface stones) should always be the result of knowledge as to their
possibility of getting there; and I mention this from the fact of their sometimes being a kind of stereotyped
adjunct to a foreground, quite irrespective of the geological character of the site. This is an error so common,
that the artist can at once detect between a truthful sketch and a tricky deception practised by a tyro. It
matters little what the subject may represent, if there be a strict adherence to reasonableness throughout
without bringing into notice any foreign objects totally at variance with the scene. Nothing shows
greater ignorance than this; and I feel it would be an omission on my part, were I not to give a word
of caution against so great an error.
The group of stones given for our subject is a part only of a sketch drawn and coloured on the spot.
It will be found to combine variety of angular forms, and much diversity of colour, as well as great force
of light and shade. In drawing groups, or even single stones, of this description, great attention should
be paid to the general outline, and the several angles which are presented, to secure an appearance of a
broken surface and of stone-like fracture. In almost every instance there must be a crispness of edge to
each part, without softening or melting of one into the other. However slight the washes may be in the
lightest parts, yet they must all have clear and decided edges. Indeed, if they do not, the consequence will
be a resemblance to dough or putty instead of to stones. It is also of great importance that the breakage
of divided portions should be properly and very attentively cared for, inasmuch as this is peculiar to each
class of stone.
In a subject so local as this I have selected, I shall not enter into minute detail as to its stages of
progression, but would remark that the principal thing to be observed throughout is to leave the whole
of the lights clean, sharp, and well defined. To effect this, a true pencil outline is imperative; without it
there cannot be a successful result. As regards the colouring, the student must determine those parts that
are warm and those that are cold, that is, which tones are inclining to the yellow, orange, red, lake-purple,
or blue-purple, to grey or blue. It is only by a true balance of each that an agreeable impression can be
made, so that it is to be hoped this matter will have some consideration before commencing with the
colour. The sky is produced simply with cobalt and a little lake. The light tints on the stones are
obtained with yellow ochre, burnt sienna, lake, and cobalt, in different proportions, agreeable to the
tint required. All the shadows are done with burnt sienna, lake, and indigo, varied, and a little
gamboge introduced where the deepest touches are seen, because it causes the other colours to hold out
with greater power from its being a natural gum and having a glossy quality. The herbage is a mixture
NEAR LLANDILO, SOUTH WALES.
TTIHEIIE are few details in the foreground of a picture of more value to its effect than detached groups
JL of stones, large or small. In no other objects do we find greater diversity of colour, although
composed of the same material; and it is quite true that, although masses from the parent rock lie side
by side, yet each and all vary in tint to an extraordinary degree. This offers us every desirable change
of tone whereby our foreground can be enriched; and groupings of stones are no less valuable for the
introduction of colour than for the distribution of light and shadow; for, being often the medium of some
concentrated light, they become, as it were, the key-tone or focus of a whole drawing. This, however,
will depend greatly, or, I should rather say, entirely on the character of the object. The introduction into
a scene of large stones (fallen or surface stones) should always be the result of knowledge as to their
possibility of getting there; and I mention this from the fact of their sometimes being a kind of stereotyped
adjunct to a foreground, quite irrespective of the geological character of the site. This is an error so common,
that the artist can at once detect between a truthful sketch and a tricky deception practised by a tyro. It
matters little what the subject may represent, if there be a strict adherence to reasonableness throughout
without bringing into notice any foreign objects totally at variance with the scene. Nothing shows
greater ignorance than this; and I feel it would be an omission on my part, were I not to give a word
of caution against so great an error.
The group of stones given for our subject is a part only of a sketch drawn and coloured on the spot.
It will be found to combine variety of angular forms, and much diversity of colour, as well as great force
of light and shade. In drawing groups, or even single stones, of this description, great attention should
be paid to the general outline, and the several angles which are presented, to secure an appearance of a
broken surface and of stone-like fracture. In almost every instance there must be a crispness of edge to
each part, without softening or melting of one into the other. However slight the washes may be in the
lightest parts, yet they must all have clear and decided edges. Indeed, if they do not, the consequence will
be a resemblance to dough or putty instead of to stones. It is also of great importance that the breakage
of divided portions should be properly and very attentively cared for, inasmuch as this is peculiar to each
class of stone.
In a subject so local as this I have selected, I shall not enter into minute detail as to its stages of
progression, but would remark that the principal thing to be observed throughout is to leave the whole
of the lights clean, sharp, and well defined. To effect this, a true pencil outline is imperative; without it
there cannot be a successful result. As regards the colouring, the student must determine those parts that
are warm and those that are cold, that is, which tones are inclining to the yellow, orange, red, lake-purple,
or blue-purple, to grey or blue. It is only by a true balance of each that an agreeable impression can be
made, so that it is to be hoped this matter will have some consideration before commencing with the
colour. The sky is produced simply with cobalt and a little lake. The light tints on the stones are
obtained with yellow ochre, burnt sienna, lake, and cobalt, in different proportions, agreeable to the
tint required. All the shadows are done with burnt sienna, lake, and indigo, varied, and a little
gamboge introduced where the deepest touches are seen, because it causes the other colours to hold out
with greater power from its being a natural gum and having a glossy quality. The herbage is a mixture