File:A treatise on painting - In four parts The whole illustrated by examples from the Italian, Venetian, Flemish, and Dutch schools (1837) (14804237343).jpg

Fig 1. In this design "The Landing of Charles II" West has placed the principal figure in the middle of the picture.
Fig 2. "Cattle returning Home in a Shower". In this composition, the principal light falls on the convex part of the group.
Fig 3. Is a repetition of the same form
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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Text Appearing Before Image:
goat in the foreground is connected to the rest by some white flowers ofan elder bush, which cannot be expressed in an outline. As this is froma design of my late brothers, I cannot allow this opportunity to passwithout expressing the great loss I feel in not having his assistance, notonly in these notes, but in every thing connected with the art: thoughpractising painting but for a short time of a short life, his strength ofmind, his fine eye for colour, and a taste for the beauties of pastoralpainting, convince me the English School has lost one that would havebeen an ornament to that department of the science. Fig. 3. Is a repetition of the same form. Plate IX. This plate consists of Wilkies admirable composition ofthe Blind Fiddler, the Salutation of the Virgin by Rembrandt, and aDance by Ostade. I shall leave it to the students own judgment toinvestigate the various forms on which these compositions depend. By making the principal heads depend upon one mode of arrangement, Plate8
Text Appearing After Image:
COMPOSITION IN PAINTING. 29 the general appearance of the group on a different mode, the backgroundon a third, and so on with the minor points (provided they all tend to theassistance of one another), his composition will not only have intricacywithout confusion, but that variety which is so characteristic in nature.A beautiful combination in nature will often appear to evade every ruleby her being perfect in every mode of examination. All her varietiesemanate from a straight line and a curve. A judicious arrangement ofobjects possessing these various forms gives the strongest naturalappearance to a picture; nor ought the artist to leave out rashly what hemay conceive to be void of beauty. In colouring, harsh tints are admittedto produce harmony in the other colours ; and the most picturesquearrangements often depend on the presence of what might be otherwiseconsidered ugly forms. As I have made use of the terms beautiful and agreeable arrange-ments, it is proper to give an explanatio

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