DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.19951#0012
2
the formation of a style which he may call and feel to be
his own ;—his own, because he will be able to account, in
the management of his picture, for all its processes and
effects, upon clear and acknowledged principles. In
recommending that the student should not wed himself
to the style of any particular master, we cannot of course
be supposed to insist upon his closing his eyes to the
works of the great masters in the Art, merely applying
himself to the acquisition of the knowledge of certain
modes and manipulations, but that he should study and
observe the excellence of those works as examples of the
development of principles, striving to see what, in each
siven instance, was in the mind and intention of the
master, as to the application of his own system and of his
own view of principles, of Art. If this be well understood
in the outset, the pupil will soon be able, after acquiring
a little insight into the nature and use of his materials, to
advance with a feeling of confidence and comfort; and in
no wav will this feeling be more agreeably evidenced to
himself than by the fact that he will often be able, by a
bold application of his newly-acquired principles, to
change a blot or a blemish in colouring into an agreeable
or even a charming effect.
It is obvious that we must presuppose that the learner
has a fair knowdedge of drawung and of perspective. Pre-
mising this, wTe will at once proceed to the business
in hand; and, for the purpose of clearness and facility
of reference, the subject will be treated under the head
of-
1. —Implements and Materials.
2. —Processes and Manipulations.
3. — The 'principles on which a picture should be con-
structed, and be treated in its usual stages.
the formation of a style which he may call and feel to be
his own ;—his own, because he will be able to account, in
the management of his picture, for all its processes and
effects, upon clear and acknowledged principles. In
recommending that the student should not wed himself
to the style of any particular master, we cannot of course
be supposed to insist upon his closing his eyes to the
works of the great masters in the Art, merely applying
himself to the acquisition of the knowledge of certain
modes and manipulations, but that he should study and
observe the excellence of those works as examples of the
development of principles, striving to see what, in each
siven instance, was in the mind and intention of the
master, as to the application of his own system and of his
own view of principles, of Art. If this be well understood
in the outset, the pupil will soon be able, after acquiring
a little insight into the nature and use of his materials, to
advance with a feeling of confidence and comfort; and in
no wav will this feeling be more agreeably evidenced to
himself than by the fact that he will often be able, by a
bold application of his newly-acquired principles, to
change a blot or a blemish in colouring into an agreeable
or even a charming effect.
It is obvious that we must presuppose that the learner
has a fair knowdedge of drawung and of perspective. Pre-
mising this, wTe will at once proceed to the business
in hand; and, for the purpose of clearness and facility
of reference, the subject will be treated under the head
of-
1. —Implements and Materials.
2. —Processes and Manipulations.
3. — The 'principles on which a picture should be con-
structed, and be treated in its usual stages.