DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.19951#0045
TREES AND FOREGROUNDS.
35
. The great end to be aimed at is the preservation of
the tints in their first purity, and the avoidance of the
necessity of corrections. The student should therefore,
in his early works, neither attempt sponging out, nor
aim at too much finish. A beginner must not expect to
effect at first all he may desire, nor allow himself to be
disheartened because he may see a manifest difference
between that which he has done and that which he hoped
to do. He should determine to persevere; for lie may
rest assured, that with every succeeding attempt a greater
degree of success will continually reward his efforts.
ON TREES AND FOREGROUNDS.
The difference observable in the representation of
foliage, as painted by various artists, is very considerable.
In fact, it may be said that no two persons ever painted
a tree with precisely the same feeling. Some artists
employ the colour as wet as possible, and merely blot
the forms of the trees in, mingling light and shadow
together, and trusting to the lights intended to be taken
out by the handkerchief, when the work is dry. Others
work in a manner altogether different. They employ
their colour in a state almost dry; and the hairs of the
brush, spread abroad like a fan, are made use of, rather
to scumble the forms in than to define them properly.
A medium between these extremes is best to be pur-
sued. The brush, should be moderately filled with colour;
and, the stems and such other details having been care-
fully drawn in according to the foregoing instructions,
the tree may be commenced from the upper part. Let us
suppose, for illustration, that it is desired to represent an
ash tree. Prepare a quiet green with Gamboge and
Indigo and a portion of Burnt Sienna, and with this fill
a small saucer. Prepare in like manner a cool gray, com-
d 2
35
. The great end to be aimed at is the preservation of
the tints in their first purity, and the avoidance of the
necessity of corrections. The student should therefore,
in his early works, neither attempt sponging out, nor
aim at too much finish. A beginner must not expect to
effect at first all he may desire, nor allow himself to be
disheartened because he may see a manifest difference
between that which he has done and that which he hoped
to do. He should determine to persevere; for lie may
rest assured, that with every succeeding attempt a greater
degree of success will continually reward his efforts.
ON TREES AND FOREGROUNDS.
The difference observable in the representation of
foliage, as painted by various artists, is very considerable.
In fact, it may be said that no two persons ever painted
a tree with precisely the same feeling. Some artists
employ the colour as wet as possible, and merely blot
the forms of the trees in, mingling light and shadow
together, and trusting to the lights intended to be taken
out by the handkerchief, when the work is dry. Others
work in a manner altogether different. They employ
their colour in a state almost dry; and the hairs of the
brush, spread abroad like a fan, are made use of, rather
to scumble the forms in than to define them properly.
A medium between these extremes is best to be pur-
sued. The brush, should be moderately filled with colour;
and, the stems and such other details having been care-
fully drawn in according to the foregoing instructions,
the tree may be commenced from the upper part. Let us
suppose, for illustration, that it is desired to represent an
ash tree. Prepare a quiet green with Gamboge and
Indigo and a portion of Burnt Sienna, and with this fill
a small saucer. Prepare in like manner a cool gray, com-
d 2