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) (14597260637).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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re in sunlight, washes of light red and yellow ochre, or cad-mium, with lemon yellow, may be used. However light the tones of moun-tains appear, no opportunity should be neglected of comparing them withwhite paper placed in the same light; for the amount of tone on objects isnot evident to the eye imless we avail ourselves of such aids. By com-paring the strength of these tones, we shall learn to give them only thatforce that our limited power will allow, keeping them properly subservientto the brighter lights, for all must be in proportion : we work with pig-ments, and on paper, dull in comparison to the brilliancy of light. Innature, an opportunity occurs of ascertaining the degree of tone or strengthof colour there may be on mountains by noticing them when their summitsare covered with snow, white being the only colour which does not alterby tbe interposition of pure air. SKETCHING OR STUDYING- IN COLOUR FROM NATURE. 21 7 SECTION VIII.—SKETCHING OR STUDYING IN COLOUR FROM NATURE.
Text Appearing After Image:
(HE acquisition of the power of sketchingfrom nature, i.e. of producing correctand vigorous representations of naturalscenes, is one of the great objects towhich the students attention is directed. Perfectionin such representations is unattainable ; for, even sup-posing all others satisfied, the artist must always feelthat the production of his hand falls infinitely short ofthe truth and beauty of nature. Yet, notwithstanding MOEL SIABOP, NORTH WALKS. his insufficiency, how delightful is the possession of a faculty enabling himto perpetuate even a dim reflection of a scene, the loveliness of which hasgiven him an intense feeling of pleasure on beholding! The labour ofmonths, or even years, of study that must precede its full acquirement inall cases,—not even excepting those of the gifted few, in whom the pos-session of genius in some degree supplies the place of laborious applica-tion,—is most amply repaid by the attainment. The study of nature is not the exclusive privilege of th

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