. A treatise on painting : In four parts ... The whole illustrated by examples from the Italian, Venetian, Flemish, and Dutch schools. Iondon.,Pabkshed by JCarpenter, Bond StreeC. June-l1822 COMPOSITION IN PAINTING. 31 be omitted here will present themselves, from belonging more properly tothose divisions of the work. I must also caution the young artist against supposing that thesemodes of arrangement are given for his imitation ; I merely wish him tobe acquainted with the advantages any particular composition possesses,that in adopting any invention of his own, he may engraft upon it those o
. A treatise on painting : In four parts ... The whole illustrated by examples from the Italian, Venetian, Flemish, and Dutch schools. Iondon.,Pabkshed by JCarpenter, Bond StreeC. June-l1822 COMPOSITION IN PAINTING. 31 be omitted here will present themselves, from belonging more properly tothose divisions of the work. I must also caution the young artist against supposing that thesemodes of arrangement are given for his imitation ; I merely wish him tobe acquainted with the advantages any particular composition possesses,that in adopting any invention of his own, he may engraft upon it those orsimilar advantages. A design that has nothing but novelty to recommendit is a conceit, not a composition. The student in painting can hope toderive advantage from theory only, when rendered obvious by oculardemonstration. One great cause of the obscurity which envelopes theart is the criticism of those whose ideas on the subject are obscure ;—tofree the world from their influence is perhaps impossible; but the artistmust free himself. FINIS. CHISWICK :PRINTED BY C. WHITTINGHAM. PRACTICAL HINTS (IN LIGHT AND SHADE IN PAINTING.
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Keywords: ., bookcentury1800, bookdecade1830, booksubjectpainting, bookyear183
