The theory and practice of landscape painting in water-colours Illustrated by a series of twenty-six drawings and diagrams in colours, and numerous woodcuts . LIGHT AND SHADE, OR CHIAROSCURO. Ill. the name by which the artist intends his picture to be known often gives a clue to the treat- ment, not only of thelight and shade, butof the whole compo-sition. When shadow isthrown all over anypart or object in acomposition, it ishighly important thatthe shape should beagreeable without be-ing formal or peculiar; when two or three objects are grouped togetherunder the same shadow, monotony may be a
The theory and practice of landscape painting in water-colours Illustrated by a series of twenty-six drawings and diagrams in colours, and numerous woodcuts . LIGHT AND SHADE, OR CHIAROSCURO. Ill. the name by which the artist intends his picture to be known often gives a clue to the treat- ment, not only of thelight and shade, butof the whole compo-sition. When shadow isthrown all over anypart or object in acomposition, it ishighly important thatthe shape should beagreeable without be-ing formal or peculiar; when two or three objects are grouped togetherunder the same shadow, monotony may be avoided by some difference inthe local colours. Should objects in the picture present a shape unpleasingor deficient in quantity, the light may be either carried on by other objectsor represented in the sky: a different effect may also be obtained bychoosing a different time of day. Objects of uncouth or difficult form maybe united by some general effect, so as to dispense with a portion of theiroutline: in this way parallel lines may be discarded, and others obtained unequal in size, andHI varied by the arrange-ment of the accidentalshadows. Any for-mal manner of treat-ing subjects, such a
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Keywords: ., bookcentury1800, bookdecade1870, booksubjectwatercolorpainting
