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) (14780623191).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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form as that presented atthe time by the sun itself; though, owing to the crossing of the rays at theaperture, the position of these forms is that of the sun inverted. It shouldbe remarked, that the brilliancy and power of the sunlight in these roundedspaces are much diminished; so that they must be represented by a grayertone, making a considering contrast in this respect to those larger open-ings among the leaves where the sun shines in full force. A careful artistwill observe another interesting effect produced by these lights and shadows.If a leaf or other object intervene, in the course of the rays coming throughan aperture in the upper part of a tree, its shadow will be thrown on theground or wall with remarkable distinctness ; of this he may convince him-self by intercepting, with the hand or a small spray, the passage of the rays.The philosopher easily traces the cause of this effect to the laws governingthe passage of rays of light, which, as they must proceed in right lines,
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TREES. 169 cannot cross again in passing from the aperture to the ground. The artistwho paints with great accuracy may occasionally require such an effect, andtherefore it is well to be aware of its nature. By turning to Plate 13 (a table of greens and russets), some idea maybe formed of the great variety of tones that may be produced without in-cluding those mixtures under the indefinite titles of Hookers, Varleysgreen, &c. It may be well to observe, that the tints in this diagram aremerely approximations to the mixtures made with the pigments namedin the margin; they are neither so powerful, so transparent, nor so welldefined as those which the pupil can make with water; but, in the absenceof the master, they will in some degree serve to indicate the pigments tobe used. Selecting indigo as the most useful blue in water-colours for forminggreens, and cobalt blue with a little indigo, the two extremes are indicated;Prussian blue is also represented as possessing great clearness an

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