File:A treatise on painting - In four parts The whole illustrated by examples from the Italian, Venetian, Flemish, and Dutch schools (1837) (14761383036).jpg

Identifier: treatiseonpainti00burn (find matches)
Title: A treatise on painting : In four parts ... The whole illustrated by examples from the Italian, Venetian, Flemish, and Dutch schools
Year: 1837 (1830s)
Authors: Burnet, John, 1784-1868
Subjects: Painting
Publisher: London : James Carpenter
Contributing Library: Getty Research Institute
Digitizing Sponsor: Getty Research Institute

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d from the light,we perceive a breadth of chiaroscuro ; the white, or cornea, producing amass of light, the iris and pupil a mass of shade. We find each of thesefocused, and a small portion of the strong dark and strong light brought incontact; and the light passing through the iris gives it its transparency,and serves instead of reflected light to clear up the shadow : the wateryfluid, in the bottom of the eye and on the under eyelid, gives us thatportion of minute finish necessary in all works of art, to which even theprotecting hairs contribute. We have here a picture complete in itself;but if we carry our examination to the surrounding lines in the orbit, weperceive an harmonious communication and extension of its form, lights,and darks, by which its harshness is softened and diffused, and it becomesa part of the composition of the whole countenance. Plate II. Fig. 4. I have given a gradual advancement of the mostprominent and dark part of a composition, until, in this example, we
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COMPOSITION IN PAINTING. 15 have the strongest point brought into the centre. In the original, TheEmbarkation of the Prince of Orange, the two principal figures aredressed in strong red, and strong black, and are the most cutting partof the group ; and, from their being brought into the centre and againstthe most retiring part, and surrounded by light, Cuyp has rendered themof the greatest importance, though occupying only a very small portionof the picture. 16 PRACTICAL HINTS ON ANGULAR COMPOSITION. Plate III. Fig. 1. The plan of composition I have here taken up is inthe form of a diamond ; which we find often adopted, either as a completegroup, or as forming part of a more complicated arrangement. In com-mencing a composition, I have mentioned, that it is of importance tomark in those points most necessary to our purpose. For example, whena story is to be told, the heads and hands, the seats of action and expres-sion, are often referred to each other for the completion of form orext

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