File: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 (1871) (14597071260).jpg

Identifier: theorypracticeof00barn (find matches)
Title: 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
Year: 1871 (1870s)
Authors: Barnard, George, 1807-1890
Subjects: Landscape painting Watercolor painting
Publisher: London : George Routledge & Sons
Contributing Library: Getty Research Institute
Digitizing Sponsor: Getty Research Institute

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s of lightning. First, luminous discharges, cha-racterized by a long streak of light, very thin and well defined at theedges, of a white, violet, or purple hue, moving in a straight line, or devi-ating into a zigzag track, frequently dividing into two or more streams instriking terrestrial objects, but invariably proceeding from a single point.Secondly, he notices expanded flashes spreading over a vast surface withouthaving any apparent depth, of a red, blue, or a violet colour, not so active asthe former class, and generally confined to the edges of the clouds fromwhich they appear to proceed. Thirdly, he mentions concentrated massesof light, termed globular lightning, which seem to occupy time, to endurefor several seconds, and to have a progressive motion. After clouds and rain, mists possess great interest, as, whether partialor general, they afford excellent opportunities to the landscape-artist to giveaerial perspective with truth,— a point of equal importance with the linear.
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PICTORIAL PHENOMENA OF NATURE. 235 By the assistance of mists, the great difficulty that the painter feels inrepresenting distances may in some measure he overcome; by them lightsand shadows are reduced, and minute details of masses lost, thus causinggreater breadth, and adding to the size of mountains. In nature, densemists, or the stratus clouds, frequently separate the summits of mountainsfrom their bases. In depicting these phenomena, however, we must pre-serve so much of the outline or general tone of the mountain as shall enableus to connect the whole into one mass. Mists are not so common in Switzerland as in England; and as thereare also strong oppositions in the colour of snow, dark firs, blue mountains,and glaciers, subjects from that country require great care and skill in theirtreatment. In Plate 19, an incident by no means uncommon in thatcountry has been introduced, representing an avalanche of snow fallingover a gallery in the wild passes of the Stelvio. This is the mos

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