DOI Page / Citation link:
https://doi.org/10.11588/diglit.19951#0049
FIGURES IN LANDSCAPE.
39
flat on the surface. Beware, however, of using gum water
in the sky, or in any portion of the distances of the work,
since by so doing all appearance of space and air will be
destroyed. This caution is the more necessary to the
inexperienced, because there is often a temptation, in
vivid and powerful sunset skies, to resort to its use, with
a view to heighten the tints.
OP FIGURES IN LANDSCAPE.
Small figures or cattle are the great resource of the
painter for the purpose of giving interest and life to his
work. Great consideration and care are required in de-
ciding where they may be best placed in proper accordance
with the tone and feeling of the subject.
In scenes of a highly romantic character (as a Avild
rocky river or a foaming cataract), figures are better alto-
gether omitted ; and if the suggestion of life be necessary,
then it may be obtained by the introduction of wild birds
or animals in character with the subject.
In mere studies from nature they are also out of place;
as the attention of the spectator must be given to the
details of the work, which as it were constitute the por-
trait. To a pastoral scene, on the contrary, living objects
are indispensable : a group of cows lazily ruminating
beneath the shade of the luxuriant foliage, or idly wending
their way towards the rippling brook,—the husbandman
plodding homewards in the glowing eve,—the shepherds
dog quickening the pace of the loiterers of his master's
flock,—may all be made to contribute to the delicious
sentiment of such a scene.
A single figure is often introduced as a scale or measure,
to enable the spectator to judge of the real dimensions of
large objects ; but some skill is requisite to prevent the
39
flat on the surface. Beware, however, of using gum water
in the sky, or in any portion of the distances of the work,
since by so doing all appearance of space and air will be
destroyed. This caution is the more necessary to the
inexperienced, because there is often a temptation, in
vivid and powerful sunset skies, to resort to its use, with
a view to heighten the tints.
OP FIGURES IN LANDSCAPE.
Small figures or cattle are the great resource of the
painter for the purpose of giving interest and life to his
work. Great consideration and care are required in de-
ciding where they may be best placed in proper accordance
with the tone and feeling of the subject.
In scenes of a highly romantic character (as a Avild
rocky river or a foaming cataract), figures are better alto-
gether omitted ; and if the suggestion of life be necessary,
then it may be obtained by the introduction of wild birds
or animals in character with the subject.
In mere studies from nature they are also out of place;
as the attention of the spectator must be given to the
details of the work, which as it were constitute the por-
trait. To a pastoral scene, on the contrary, living objects
are indispensable : a group of cows lazily ruminating
beneath the shade of the luxuriant foliage, or idly wending
their way towards the rippling brook,—the husbandman
plodding homewards in the glowing eve,—the shepherds
dog quickening the pace of the loiterers of his master's
flock,—may all be made to contribute to the delicious
sentiment of such a scene.
A single figure is often introduced as a scale or measure,
to enable the spectator to judge of the real dimensions of
large objects ; but some skill is requisite to prevent the