. A treatise on painting : In four parts ... The whole illustrated by examples from the Italian, Venetian, Flemish, and Dutch schools. ing it the simplest and most effectivemeans of a true representation of its character. This may appear tooevident to notice in a work of this nature, which does not profess to givethe mere rudiments of the art; but I am convinced that the most intricateprinciples of painting emanate from very few sources, and that thesesources are of a very simple nature. Every thing within our view is filledwith examples, and the mind of the Student requires only to be directe
. A treatise on painting : In four parts ... The whole illustrated by examples from the Italian, Venetian, Flemish, and Dutch schools. ing it the simplest and most effectivemeans of a true representation of its character. This may appear tooevident to notice in a work of this nature, which does not profess to givethe mere rudiments of the art; but I am convinced that the most intricateprinciples of painting emanate from very few sources, and that thesesources are of a very simple nature. Every thing within our view is filledwith examples, and the mind of the Student requires only to be directedto an examination and investigation of the subject, before commencingany work, or while in the progress. He must not only know what is hisintention, but must be in possession of the best method of expressingsuch intention. Plate V. Fig. 1. When a shadow is carried through the middle of the picture, we havenot only an opportunity of giving a breadth of effect; but the recedingportion of the sky and perspective of the ground are assisted by theirsharpness being swallowed up in repose; see this principle noticed atFig. 1. Plate Zbilished Jidy LIGHT AND SHADE IN PAINTING. 23 Plate V. Fig. 2, and 3. When the principal light is kept at one side, we have an opportunity ofintroducing a larger portion of shadow, than when the light is in thecentre, which is often of the first consequence, especially if repose isrequired in the work. When, as in Fig. 2, a multitude of small objects are introduced into apicture, or when the general arrangement consists of many figures, it isimpossible to get a breadth of light and shade, unless many of them areunited together of the same strength, so as to form a mass of light, or ofdark; but which to do with skill is one of the greatest difficulties; forunless the science is in some measure concealed, it is no longer the confusion of a battle, for example, it is unlikely that two or threewhite horses should be collected, so as to
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Keywords: ., bookcentury1800, bookdecade1830, booksubjectpainting, bookyear183
