DOI Page / Citation link:
https://doi.org/10.11588/diglit.42850#0072
STUDY OF A GROUP OF OAK TREES, NEAR
ELTHAM, KENT,
THERE are few spots to be found of a more secluded and rustic character than are to be met with in
some of the nooks and lanes of the suburbs of London, ranging from a distance of seven to ten miles.
They are so retired, and have so much of the character of the country, that they cannot in any way be upbraided
with the term “ Cockneyismd"’ To the amateur, it is a great boon that our vast and smoky metropolis abounds
in local bits of the most desirable and charming kind, exquisitely suited for the pencil, and so retired as to
permit of uninterrupted quiet in sketching, without the rude and ofttimes impertinent gaze of the passer-
by. Such a spot was the subject now before us. About one mile from Eltham, in a lane turning to the
left, and through the village, I came, with a few friends, upon some beautiful little artistic bits, refreshing
to the mind as well as to the eye. Many there are who, after the duties of the day are ended, might
put themselves into the train, and soon reach scenes of repose and tranquillity of the most enjoyable and
rustic character. I can with safety recommend those who are fond of sketching to visit the locality of
Beckenham, Bickley, Ckislehurst, and Eltham, each of which can be reached in a very short time from
the railway stations.
The trees in the present sketch group together in perfect form, round-headed and graceful, affording
a mass of foliage well calculated to teach the student. Although the outside is symmetrical in shape,
yet the few protruding branches are quite sufficient to break the otherwise circular outline, and give
an agreeable impression. In sketching this and other similar trees, the first thing- to be done should
be to place some dots upon the paper, for the position of the bases of the several trunks or stems. Care
should be taken to give these at correct distances the one from the other, or the whole will be thrown
out of drawing when the foliage is outlined. The direction of inclination is now to be accurately observed,
as well as the precise thickness of each, as upon the former will depend the whole growth of the foliage.
The branches are to be continued to the top of the tree, noting well the highest part, and see that the
several clusters of leafage are well supported. This is but seldom achieved by the student, and the trees
necessarily assume an unnatural look. Let all the principal masses have an outline, and, indeed, a slight
degree of pencilling in the shadows, because, if these are successfully done, it enables the artist to leave
off and change his colour, when he would otherwise find it almost impossible to do so. This will prevent
haste and fear of the colour drying before completing the first flat wash.
The outline of the bank should be well attended to, by observing the several breaks and direction of
the grass at the top. There is a nice play of line on this bank, and also on the grass below, with the
narrow pathway; while the weedy foreground to the left leads the eye up to the dark side of the foliage,
continuing the shadow of the bushes under the trees, and giving to them an agreeable curve. Opposed to
these varied lines is the horizontal meadow beyond, with a gleam of sunlight, backed by distant trees in
grey tone. The ash-tree to the left, behind the principal oak-tree, is of a tender green, well suited to
give firmness and strength of colour to the whole group in front. For this purpose also are the delicate
grassy tints below of the greatest use, as their freshness and coolness impart by contrast considerable warmth
of colour. The point of interest lies in the gravelly bank and large tree, upon which the high light falls.
The stem receives the strongest light, which is carried forward by means of the sleeves and caps of the
figures. Without the introduction of these the light would be too small, and the top form of it would rest
upon the bank; whereas the presence of the figures gives a rounded character to the lights, and fills up a
I
ELTHAM, KENT,
THERE are few spots to be found of a more secluded and rustic character than are to be met with in
some of the nooks and lanes of the suburbs of London, ranging from a distance of seven to ten miles.
They are so retired, and have so much of the character of the country, that they cannot in any way be upbraided
with the term “ Cockneyismd"’ To the amateur, it is a great boon that our vast and smoky metropolis abounds
in local bits of the most desirable and charming kind, exquisitely suited for the pencil, and so retired as to
permit of uninterrupted quiet in sketching, without the rude and ofttimes impertinent gaze of the passer-
by. Such a spot was the subject now before us. About one mile from Eltham, in a lane turning to the
left, and through the village, I came, with a few friends, upon some beautiful little artistic bits, refreshing
to the mind as well as to the eye. Many there are who, after the duties of the day are ended, might
put themselves into the train, and soon reach scenes of repose and tranquillity of the most enjoyable and
rustic character. I can with safety recommend those who are fond of sketching to visit the locality of
Beckenham, Bickley, Ckislehurst, and Eltham, each of which can be reached in a very short time from
the railway stations.
The trees in the present sketch group together in perfect form, round-headed and graceful, affording
a mass of foliage well calculated to teach the student. Although the outside is symmetrical in shape,
yet the few protruding branches are quite sufficient to break the otherwise circular outline, and give
an agreeable impression. In sketching this and other similar trees, the first thing- to be done should
be to place some dots upon the paper, for the position of the bases of the several trunks or stems. Care
should be taken to give these at correct distances the one from the other, or the whole will be thrown
out of drawing when the foliage is outlined. The direction of inclination is now to be accurately observed,
as well as the precise thickness of each, as upon the former will depend the whole growth of the foliage.
The branches are to be continued to the top of the tree, noting well the highest part, and see that the
several clusters of leafage are well supported. This is but seldom achieved by the student, and the trees
necessarily assume an unnatural look. Let all the principal masses have an outline, and, indeed, a slight
degree of pencilling in the shadows, because, if these are successfully done, it enables the artist to leave
off and change his colour, when he would otherwise find it almost impossible to do so. This will prevent
haste and fear of the colour drying before completing the first flat wash.
The outline of the bank should be well attended to, by observing the several breaks and direction of
the grass at the top. There is a nice play of line on this bank, and also on the grass below, with the
narrow pathway; while the weedy foreground to the left leads the eye up to the dark side of the foliage,
continuing the shadow of the bushes under the trees, and giving to them an agreeable curve. Opposed to
these varied lines is the horizontal meadow beyond, with a gleam of sunlight, backed by distant trees in
grey tone. The ash-tree to the left, behind the principal oak-tree, is of a tender green, well suited to
give firmness and strength of colour to the whole group in front. For this purpose also are the delicate
grassy tints below of the greatest use, as their freshness and coolness impart by contrast considerable warmth
of colour. The point of interest lies in the gravelly bank and large tree, upon which the high light falls.
The stem receives the strongest light, which is carried forward by means of the sleeves and caps of the
figures. Without the introduction of these the light would be too small, and the top form of it would rest
upon the bank; whereas the presence of the figures gives a rounded character to the lights, and fills up a
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