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 . rom eachother, or when thelight ends too abrupt-ly, the artist, by in-troducing a white orFig. 23. light-coloured object, such as a cloud or the sail of a boat, may both add to the quantity andalter the shape of the mass of light, while he increases the interest andprevents the light from becoming isolated. To explain this more full)-,the Author takes the liberty of recurring to an old but very appropriateanecdote. A certain artist had i
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 . rom eachother, or when thelight ends too abrupt-ly, the artist, by in-troducing a white orFig. 23. light-coloured object, such as a cloud or the sail of a boat, may both add to the quantity andalter the shape of the mass of light, while he increases the interest andprevents the light from becoming isolated. To explain this more full)-,the Author takes the liberty of recurring to an old but very appropriateanecdote. A certain artist had introduced into his picture a black andwhite dog in the act of running across the road; a friend expressed thehighest approbation of the work, but added, that for the life of him hecould not understand what the dog was doing there. 0, replied thepainter, he is mere-ly carrying the lightand shade throughthe pictura Masses of dark,either in full strengthor broken by some ob-ject in half strength,may with good effectbe projected into orrelieved against thesky. Fig. 24 repre- Fig. 24. sents a ruin, with straight and severe lines, but varied in quantity; the.
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Keywords: ., bookcentury1800, bookdecade1870, booksubjectwatercolorpainting
