File:Art crafts for amateurs (1901) (14576697740).jpg

Identifier: artcraftsforamat00mill (find matches)
Title: Art crafts for amateurs
Year: 1901 (1900s)
Authors: Miller, Fred, decorative artist
Subjects: Decorative arts Decoration and ornament
Publisher: New York, London, Truslove, Hanson & Comba, Ld.
Contributing Library: Getty Research Institute
Digitizing Sponsor: Getty Research Institute

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Text Appearing Before Image:
e quite ornamental. A certain amount of lightand shade is employed to give relief, but not the subtle playof halftone, with all its delicate gradations, that is thoughtnecessary in a picture. A certain sculpturesque quality,too, is seen, which makes the work effective when viewed ata distance. There are plenty of difficulties to be overcomehere, but not so many or such subtle ones as there would bewere the artist realizing a figure seen under particular condi-tions of light, where one plane melts into another and wherethe sense of atmosphere has to be suggested. Or take thetwo panels, No. 171, portion of the decoration of apianoforte front. Kere the artist has designed an arrange-ment of lines and spaces and given the panels a stronglyasserted character which is pleasing or the reverse as indi-vidual taste decides. There is no attempt here to realisethe effect of a figure singing in a room with all the•delicate play of light and shade around it, but a figure DECORATIVE PAINTING. 235
Text Appearing After Image:
No. 170.—Painting on Retable. All Hallows Church, Southwark.By Louis Davis. is arranged tcf fit a certain space, and instead of subtle lightand shade the subject is viewed in an arbitrary way, so that 236 ART CRAFTS FOR AMATEURS. such difficulties are avoided, and by treating the work in aflat manner and drawing in ail the forms definitely with anoutline the difficulties of handling are considerably lessenedand consequently are much more easily grappled with. Incarrying out such panels the flesh might be kept a flat tint,and in the face only so much shadow put under the chin asto obtain relief. A tint might be mixed up of, say, white,vermilion and yellow ochre, to give a warm, reddish tone otcolour, and this could be put on flatly and the shadowstippled on with a badger; indeed, it would give a nicetexture to stipple the whole when you have got the colouron the panel. The shadow could be made by adding alittle light red and black to the flesh tint. When this isdry the features could

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