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) (14780634781).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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t greater contrast, not only in light andshade, but by using such colours as shall produce simultaneous contrastThe face also being turned to the spectator causes additional interest. Thusalso, in Plate 22, the red dress of the girl on horseback is rendered stillmore conspicuous by the opposition of the green colour of the boys coat;the man is at the same time placed in shadow, having the contrast of lightand shade, but deprived of violent contrast of colours, as they are all mel-lowed and broken. In all the colours which are observed in nature onfigures, there will be some modification produced by simultaneous contrastand by aerial perspective. This effect must be imitated either by laying onthe general tone first, or by passing one transparent tone over another : thusall the primitive colours, including white and black, must be harmonised, orthey will look crude, the pigments being rarely put on quite pure; blackespecially looks heavy and unnatural when so used, and we ought to make
Text Appearing After Image:
MIOaTOH, 11UUS. PLATE SJ FIGURES AND ANIMALS. 247 this colour exceedingly valuable by using it seldom. In the sketch of twochildren crossing a rustic bridge (page 252), an instance is given where thenecessity to seize the position or attitude at the moment it strikes you isevident. The children could not be taken to the bridge and told to call thedog, throw down their gleanings, and arrange themselves naturally ; butbeing caught, as it were, in an instant by the artists eye, they are muchmore likely to appear simple and unaffected. General breadths or massesmay be put on all over the picture, the shadows added, and, if sharp vividlights are wanted, it is sometimes better to put them in with a firm brushand solid Chinese white; and when this is dry and hard, glaze over it withthe requisite colour at once. This produces great force. The study of rustic figures must always present difficulties to the artist:if he is strongly attached to landscape, he grudges the time or interruptionit ap

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