DOI Page / Citation link:
https://doi.org/10.11588/diglit.19949#0054
50
ON THE CHOICE OF SUBJECT.
as not to supply, to the cultivated taste,, subject matter
for an interesting picture. In confirmation of this, it is
only necessary to look round our exhibitions, to see
numerous works of great beauty and interest, produced
from materials m themselves apparently extremely slight.
Having made himself master of the principles here
laid down, the sketcher might select for commencement,
some single object, such as the quaint old gable in
Tig. 20. A subject like this is sufficiently good to be
drawn from various points of view, and it should be
studied in such a manner, that at any subsequent
period, a coloured drawing might be made from it.
Fig. 1, exemplifies a composition of lake and mountain
scenery, in which the expression of the pencil is sufficient
to show the relation of the objects. Through the middle
distance to the foreground, the touch is gradually
strengthened, and the most decided and darkest lines
appear in the nearest parts of the view. The water is
left nearly white. This sketch is as slight as it well
can be, to be worked out into a subsequent finished
picture. Fig. 4 forms an extremely simple subject,
a winding river with a boat, a few trees, and a distant
spire ; there is more than mere outlii e, but still no more
than may be gracefully effected by the pencil; and in
Fig. 5, wherein the church tower is the prominent object,
the place of the sun would cause the amount of shade
which gives force to the sketch. The frontispiece is a
ON THE CHOICE OF SUBJECT.
as not to supply, to the cultivated taste,, subject matter
for an interesting picture. In confirmation of this, it is
only necessary to look round our exhibitions, to see
numerous works of great beauty and interest, produced
from materials m themselves apparently extremely slight.
Having made himself master of the principles here
laid down, the sketcher might select for commencement,
some single object, such as the quaint old gable in
Tig. 20. A subject like this is sufficiently good to be
drawn from various points of view, and it should be
studied in such a manner, that at any subsequent
period, a coloured drawing might be made from it.
Fig. 1, exemplifies a composition of lake and mountain
scenery, in which the expression of the pencil is sufficient
to show the relation of the objects. Through the middle
distance to the foreground, the touch is gradually
strengthened, and the most decided and darkest lines
appear in the nearest parts of the view. The water is
left nearly white. This sketch is as slight as it well
can be, to be worked out into a subsequent finished
picture. Fig. 4 forms an extremely simple subject,
a winding river with a boat, a few trees, and a distant
spire ; there is more than mere outlii e, but still no more
than may be gracefully effected by the pencil; and in
Fig. 5, wherein the church tower is the prominent object,
the place of the sun would cause the amount of shade
which gives force to the sketch. The frontispiece is a