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) (14597125838).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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oever prefers, in all cases, a mere prospect (and in that light everyunbroken view may be looked upon) to a prospect of which the accompani-ments had been, or seemed to have been, arranged by a great painter, willthink everything an obstruction that prevents his seeing all that it is pos-sible to see in all directions. But he who is convinced that painters, fromhaving most studied them, are the best judges of the combinations andeffects of visible objects, will only look upon that as an obstruction which,if taken away, would not merely let in more of the view, but admit it in ahappier manner in point of composition ; and whoever has felt the extremedifference between seeing distant objects, as in a panorama, without anyforeground, and viewing them under the boughs, and divided by the stemsof trees, with some parts half discovered through the branches and foliage,will be loth to cut down an old tree which produces such effects, and no lessdesirous of creating those effects by planting.
Text Appearing After Image:
BUILDINGS, RUINS. 185 The colour of buildings has next to he considered; and this, of course,varies with the materials of which they are built, from the light and brokenyellow of stone to the deep red and brown of bricks and tiles. The warmgray, varied by broken colours of still greater warmth, is very agreeablewhen contrasted with the deep greens of the surrounding trees ; sometimesalso the richer tones of the sandstones have an equally good effect. In ruins, those greenish-yellow tones, the result of damp, may be intro-duced with effect; but in representing inhabited houses they should ifpossible be avoided, as they give an appearance of unhealthiness or stagna-tion, which has at all times a tendency to excite very disagreeable sensationsin the mind. The mode of handling the brush and materials should be vigorous andfirm; and as this description of study is that in which the pupil shouldmake his earliest efforts in colour, two examples are given in Plate 15which, with the addition o

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