DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.19953#0052
50
DRAWING FROM THE LIVING FIGURE.
interesting when applied m practice to the subject in hand
by the truthfulness of its laws.
It seems strange that landscape painters should neglect
so much the drawing of figures and of animals, as in most
cases they use them merely when they require spots of
colour. It is allowed that they give great interest to a
landscape paintings but they are often not sufficiently
well drawn to enable the observer when the attention is
directed to them to make out what they are meant for.
It surely cannot take away from the proper effect of a
landscape to have animal life portrayed with something-
like a resemblance to the objects intended to be repre-
sented, although no doubt, if too minutely finished, they
may become so prominent as to take too large a share in
the interest of the picture, and so destroy its effect as a land-
scape. To observe the proper medium should be the aim
of the student, and it may not be out of place to offer a
few observations on this subject. Figures, then, for
the landscape painter, should be drawn with attention to
all their leading points of character, preserving breadth
by the omission of all small parts and without coming so
forward as to interfere with the general effect, which they
are employed only to assist. There can be no injury to
the general effect by correct drawing being given to
them. In the pictures of the old masters we find animals
and figures beautifully drawn and painted, and no injury
sustained by the picture; on the contrary, increased interest
DRAWING FROM THE LIVING FIGURE.
interesting when applied m practice to the subject in hand
by the truthfulness of its laws.
It seems strange that landscape painters should neglect
so much the drawing of figures and of animals, as in most
cases they use them merely when they require spots of
colour. It is allowed that they give great interest to a
landscape paintings but they are often not sufficiently
well drawn to enable the observer when the attention is
directed to them to make out what they are meant for.
It surely cannot take away from the proper effect of a
landscape to have animal life portrayed with something-
like a resemblance to the objects intended to be repre-
sented, although no doubt, if too minutely finished, they
may become so prominent as to take too large a share in
the interest of the picture, and so destroy its effect as a land-
scape. To observe the proper medium should be the aim
of the student, and it may not be out of place to offer a
few observations on this subject. Figures, then, for
the landscape painter, should be drawn with attention to
all their leading points of character, preserving breadth
by the omission of all small parts and without coming so
forward as to interfere with the general effect, which they
are employed only to assist. There can be no injury to
the general effect by correct drawing being given to
them. In the pictures of the old masters we find animals
and figures beautifully drawn and painted, and no injury
sustained by the picture; on the contrary, increased interest