. Art life of William Rimmer, sculptor, painter, and physician / Truman Bartlett. . in the house, anywhere, — a rag-picker stooping over an ash-barrel; awoman lifting a child in her arms; any thing, anybody: try and photograph it, so tospeak, on the mind, and then draw it from memory. In this way you will learn to seizeonly the salient points of every thing, discarding all that is superfluous. In regard togrouping, he said, Remember that in a properly balanced group every figure is a neces-sary part of it, and the removal of even the most insignificant would be disastrous tothe harmony of the
. Art life of William Rimmer, sculptor, painter, and physician / Truman Bartlett. . in the house, anywhere, — a rag-picker stooping over an ash-barrel; awoman lifting a child in her arms; any thing, anybody: try and photograph it, so tospeak, on the mind, and then draw it from memory. In this way you will learn to seizeonly the salient points of every thing, discarding all that is superfluous. In regard togrouping, he said, Remember that in a properly balanced group every figure is a neces-sary part of it, and the removal of even the most insignificant would be disastrous tothe harmony of the whole. Grouping does not consist in standing figures in a row likepins in a paper, nor in sticking them over the surface of the picture like pins in acushion: they must be arranged so as to lead the eye by a natural gradation to the prin-cipal figure, and every thing else must serve the same end, — the arrangement of thelight and shade, the disposition of the draperies, the combination of color, which shouldbe most prominent and striking around the central point of SUPPLEMENT. 1 17 An atmosphere of color was one thing upon which he insisted. It is noi enough tobring a red dress and a blue cloak together.—any dry-goods clerk can do that: you mustdo more than this, — you must make them acquainted, oay, friendly with each other. Youmust bring them into a loving embrace, each borrowing from and adding to the beautyof the other; the warmth of the red softening the coolness of the blue, the purity amitenderness of the blue mellowing the fierce glow of the red, and the gray of the atmos-phere tempering both. There should be a little of one color in every other color, and alittle of every other color in one color. Talk of transparency! some people seem tothink they have secured it when you can see the canvas through the paint : they forgetthat you do not want the transparency of glass that you can see through, but id jewelsyou can sec into. Always have one central ef
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