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 . ponding degree of attention. It is necessary to remark, that the intro-duction of all these plants into the foreground of pictures must appear quiteeasy and natural. Some kind of confusion may be allowed in objects whichare thrown, or are growing, accidentally together; but breadth and sim-plicity must be observed, that the eye may not be disturbed by too manyforms of the same size and distance from the spectator. With all thevariety of
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 . ponding degree of attention. It is necessary to remark, that the intro-duction of all these plants into the foreground of pictures must appear quiteeasy and natural. Some kind of confusion may be allowed in objects whichare thrown, or are growing, accidentally together; but breadth and sim-plicity must be observed, that the eye may not be disturbed by too manyforms of the same size and distance from the spectator. With all thevariety of outline and colour which plants, combined with rocks andbroken ground, afford, the student will find that the foreground becomesa most interesting part of his picture. He will, however, look upon itonly as a portion, and see that it is not divided from the rest by too suddenan alteration in colour, light and shade, or treatment. The parts must allcombine to form an harmonious whole, each securing to itself that amountof interest to which it is entitled from the position it holds in the picture. BUILDINGS, RUINS. 181 SECTION IV.—BUILDINGS, RUINS, LTIIOUGH the Land-scape-painter may, in most in-stances, dispense with the strictrules of architecture, yet it ishighly requisite that he shouldstudy with some degree of at-tention the style and characterof the buildings which he mayhave occasion to introduce intohis pictures. Generally speak-ing, they will either be rusticor in the condition of former, being for the most part irregular in their appearance, and offering little of architectural beauty,chiefly interest us by the association of ideas conveyed to our mind, and thevariety both of form and colour presented to our view; the latter, frequentlyincluding portions displaying great elegance of design, give rise to senti-ments of a far more elevated character: in either case, an accurate know-ledge of perspective will be found indispensable to their truthful repre-
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Keywords: ., bookcentury1800, bookdecade1870, booksubjectwatercolorpainting
