THE
ART
OF
LANDSCAPE
PAINTING
OIL
IN
COLOUR
BY
ALFRED Associe
Soctete
A.R.A.
EAST, Nationale
des
Beaux-Arts^ France^
etc.
WITH
ILLUSTRATIONS
AND
BLACK-AND-WHITE
PHILADELPHIA
J.
B.
LIPPINCOTT
COMPANY 1908
IN
COLOUR
ND
/
"
f^'^^O
DEDICATED
TO R. H.
Ml04{)13
MY K.
FRIEND
PREFACE.
will
IT
write
to
of It case
at
reader
is, of before
been
and
schools, of
his
how the
their
closely
they
technicalities
yet
be
any
school
of
such
should
art.
be
Nature.
aim,
My
certain
the
tions consideraof him
to
our
in
the
my
not
neglect
chief
endeavour
of
the
be as
the
wider
an
with the
that
in
work of
be
to
the
point
out
the
of
well
However
Beyond
problem
master. on
ability,
technical
artist.
a
lacks
hints
necessary will
matter
no
:
their
her,
the
of
technique
the
knowledge.
one's
failure
of
many
Nature
imitate
associated
may
great
a
towards
to
employing
lies
of
he
methods
the
may of
expression
real
art.
A
and
art,
student
there
painting of
shall
complete
a
rudiments
curriculum
something
attitude
always
I
of the
grounded
the
assistance
of
cause
know
seek
may is
of
method
best
the
that
granted
of
student
in
be
the
who
false
which
while
Therefore,
the
place
a
that
those
is
vitality
before
in
painting
for
from
paint
to
should
opinion
failures, amongst
painting,
that
pages
development.
of
am
find
which
at
necessity
place
not
acquired
made
is
to
do
be
absolute
attempt
it
practical knowledge
a
may
an
any
which
I
as
course,
progress
least,
at
landscape
taken
have
I
of
art
these
in
attempted
not
the
on
stages.
such
drawing,
have
I
length
any
has,
therefore, has
art
that
elementary
its the
found
be
in
boy
learns
after
reckoning
life
which
at
he is
probably better
conventional
the
school
for
discovers
suited
to
his
rules himself purpose;
arithmetic,
of a
but
system
of
had
he
viii
PREFACE.
first learned
not
have
been
is of
brush
then
Assuming technical and
easily as
as
knowledge,
and
wherefore
his
attention.
of
honest and
and
All
painter, and
in
aspects, and in
all
by
which
about a
he
art,
species
There
practice and could
So
a
the
very
the
secure
secret
"
his
considerable
printed that
cleverness,
on
the
subject
erroneous
The
one.
its exponents,
is
of
trick of the
"
of
opinion
such
powers
of
ficialities. super-
landscape reward.
in
be the
that
art
the is
attain be
partly responsible for
present methods world a
by
trick, mere
if
assured
painter
one
and
trade." has
at
that
all,may
it is
treatment
this
error
at
of
been
probable
decide
landscape painting varied
broader
her
unsatisfactorymatter
fact that
receives
will
sure
in
landscape painting any
a
eminent
some
this
the
must
may
of
individuality
finds
would
success
amount
of
he
work,
mere
discover
long,
trust,
result
his
Nature
anyone
confidence
student, if he forms
personal expression,and of
that
peculiar an
find
will
study
which
to
I
his
as
to
why
escaped
a
beyond
belief abroad
curious
a
perseverance;
only his
is
as
end
quicken
what
express
the
to
his
of
higher attributes, which
best
can
of
he
will, probably before
he
it
necessary
to
for
interest
an
look
ideas
hitherto
mark
such
to
induced
her
grasp
have
work,
possession
be
search
to
will
qualities are
their can
to
him.
learn
these
student
the
him
help
with
him
to
present
larger
a
draw
to
suggestions will,
after
his
for
able
pen.
expression
an
"
striving
enthusiasm
observation,
and
qualitieswhich
conviction
to
may
outlook, give
The
his
which
be
adequately equipped
him
lead
his
character.
If
will
things
it with
is
is
thoughts
personal
increase
desire
my
his
uses
student
Such
gradually widen endow
the
which
suggestions
and
that
writer
a
not
painting. Technique
artist should
The
could
system
own
it is with
So
highest importance.
his
with
rules, his
easily evolved.
so
the
fundamental
the
upon
is such the
a
hands
judgment.
ix
PREFACE.
student, puzzled by
The
Claude
or
it
I have
"that
he
ignorance
I
of
such
find
to
the
examine and
it
how
a
is that
to
judge
had
the
been
of
that
they are that
life and
looks
has
by
come
masterpieces of art
are
similar
govern B
one
the
widely in art
their of
quality there. thought
and
copy
the
artist
mind
by
He
subtle discover
to
daub
from
distance.
a
standard
complex,
artist
In he
which
yet
artist has
is in confusion.
a
close
at
pictures,and
more
be,
may
more
qualitiesthe
equally great
an
find
a
the
and
more
his
but seen
great
it to
knowing
not
endeavour
may
(one
master
theories.
will
nothing
grows
to
he
when
of
his
rest
being
analyse
problem
established
to
He
into
of
he
Claude.
of
notes,
as principle,
which
which
work
trustworthy)he The
be
in the
art, and
of another same
Turner,
and contradictory,
more
also
great picturesome
a
that
which
that
The
expressed.
Poussin
may
perplexityhe flounders,
on
altogetherignorant
remain
and
of
that
make
may
Corot
his
In
and
of principle
find
to
The
his
basis
method
quarters, grows He
find
himself,
be?"
Claude
and
to the work
turn
may
in
sure
than
elusive
while
fundamental
a
in vain.
universal, and
where
that
a
the other.
with
reason
can
at
Corot, and
a
discoveringin
school),expecting
But, alas ! he seeks is not
that
student
a
he takes to be
different
a
how
look
may
ignored in
be
may
precision,Turner
discoveryhe
of that
expressing
mysteriousgeneralisation.
qualitywhich joy
or
to
appear
great; but
are
their
in
imagine
can
Turner
a
understand
cannot
their
right in
at
which
one
artists
right
be
then
highest authority,"he
the
on
all these
may
the
of
instance, he
For
governed.
are
Poussin, and
a
in principles
certain "
all
which
methods
different
many
in tracing the underlying principles difficulty
considerable
Nature, finds
by
so
(and
more
trying thought
therefore
grief.
musical different
composition by in
adherence music.
motif to
So
the in
and
the
construction, but
fundamental
like
exponents
manner
principles the
varied
PREFACE.
X
of
expressions
the
underlying
works
spiritof his
to
looking
and
influenced
is
predisposed
even
style
the
peculiarlyaffected short, he
will
Nature
see
formalisms.
entirelythrough
other
eyes
conception of
the
mind.
one
turned
Corot Nature their some
and
and
painter,however
elude
which
others such
glorious
Nature
revelation
for
hand
in
a
work
errors
it may
of in
appear
it.
art, the
has
Believe blame
"
not
before
him
so
much
towards the
the
Nature. most
due
but
be
matter
If
wonderful
he
the
sive exclu-
Nature
Poussin
and
Turner
and
be
to
eye
fault
of
from
charm,
some
the
found
one
Nature. "
see
may The
contradictory
technique a
is
expression of
lie with to
he
is, that
painterstook
message, has
of
grasped by
which
whatever
me, cannot
in
by
the
some
landscape painting are
painter'sattitude out
for
individual, if he
each
record
to
wanted
that
"
be
to
These
account.
And
art.
but
them,
In
powers
be.
may
truth
he
the
sky.
is not
revealed
are
;
own.
insist
Nature
her
carefully
the
own
his
great he
all
aspects that
are
feelingin
spreads
for
variations
her
to
of
beauty
they
greatest
the
truth
he
Eventually
than
I would
which
just exactly what
the
find
upon
one
There
and
Claude,
as
in
boundless
point
the
possessionof too
his
these
one
that
them
see
against
in
is
there
But
faith
his
perception to
her
repetition,and
sacrifice
slave, and
a
biassed
so
tree
a
can
their
branches
the
of
he
masters,
discover
of
contours
leaves
strange,
mind
a
anything in
see
the
for
old
to
as
become
may
the
of
far
so
go
looks
with
man
and
Nature
he
If
to.
a
himself
seem
may
noted
and
find
length
spectacles. It
covered dis-
having
methods,
at
may
than
letter,rather
student
technical
work,
their
approach
to
in
arranged
direct
their
the
A
masters.
their
principles
the
in
mentioned.
have
studying
possible,for
it is
yet nevertheless
in
great
through
Nature
at
I
masters
satisfaction
own
of peculiarities
all the
may
of
reconciled
are
danger
works
the
art
of the
yet another
is
There the
landscape
as
in
realist,Nature
objects,whose
beauty
xi
PREFACE.
is revealed
to
his
in
which
at
the
the
his
her
be
to
fearlessness
and
his
he
must
imitate
and
solved, and
To
He
man.
those
he
may
not
holds
in
evidence
The
and
fine.
and
wants,
is
lies
his
tiful boun-
so
be
never
can
to
due
to
select
incapacity to
past,
in his
tread
his
them
spiritof
that
Nature
are
still to
be
with
his
in accordance
for himself
full
a
in
path
there
Problems
out
accept the
to
humility, assured
particularuse.
work
to
man
prepared
must
the influence
judgment by
it is for every be
artist will
true
no
previous authorities,nor
upon
to
He
the
to
No,
art, and
to
vocation
be
is
no
learn
to
but
;
to
be
his
lack
strive of
those
their
that
student to
of
student a
towards
has
great
power
him.
upon in
masters
is
the
independence of outlook,
craftsmanship.
the
creative
of
may
itself does
If Nature
higher qualitiesthat
then
construct,
after
the
small-minded
attitude
their work
emulate
to
of the
of his servile
overbearing influence
royal road
other, the
only
resort
fullyconscious
standard him
is the
copy
high respect,
in life is not
There every
work
work,
great
to
should
aim
high
suggest a
the
their
their
not
must
of
student's
spirit of
in
he
manner
ideas.
own
in
biassed
solve
the
offering.
confidence, yet with
and
is for him
owing debt
work.
his
student
before, Nature
work
man's
a
unduly
in
salvation
own
romanticist,
a
that responsibility
the
said
I
generous
works, however
for responsibility
an
As
rely unquestionably
to
himself
of their
be
for what
look
him
upon
acknowledging our
content
he
the
to
to
rather
is
out
how
;
of
poverty
material, but
While
allow
Nature
of material.
selection
of
point
impress
time
same
judiciouslyfrom be
would
I
study
to
that lack
So
heart.
in the
If
again just the specialqualitiesthat appeal primarily
furnishes
she
delineation.
faithful
their
by
always present
are
rest
assured
that
his
landscape painter.
in art. must
draw,
In serve
to
this before
department he
can
of
life,as
govern.
paint, to observe,
and
He select.
PREFACE.
xii
And
it
that
he
is
a
that
purpose
of
the
similar
with
see
his
labour
is
help
service.
with
minds
free
their
beautiful
love
mode
I
will
of
Nature
of
human
and
the
in
and
that
language
expression
that "
of
to
who
and
time
does
be
determine
to
the
of
perhaps
landscape
not
that
of
some
patience,
with
ability
his
generosity
difficulties
me
is
student
to
which
the
those
prejudice, pleasure
a
of
to
the
wasting
enable
may
passed.
have
very
that
for
;
that
certain,
come
of
danger
a
painters
bias
her
spite
in
essential
are
knowledge
My
am
from
them
to
masters,
is
"
help
to
that
non-essentials
landscape this
of
But
there
of
offer
to
hindrance.
of
path
the
beset
since
that
things
much
so
selection
positive
a
the
distinctive
fellows
they is
pages,
personal
of
art
his
of
which
through
following
eyes
snare,
the
in
the
has
a
prove
may
in
his
that
perseverance
stamp
make
to
above
training
own
Nature
purpose.
work
of
then,
object,
My to
course
The
order
in
his
raises
increasing
worthy.
itself
manifest
must
purpose
anything
achieve
can
and
application
close
by
only
become
ing expressthe
most
painting.
CONTENTS.
CHAPTER
I. PAGE
Attitude
Nature
towards
.
CHAPTER
II.
Equipment
Sketching
Pencil
from
Drawing
CHAPTER
III.
CHAPTER
IV.
Nature
from
24
Nature
CHAPTER
V. 32
Composition
CHAPTER
VI. 45
Colour
.."""""
CHAPTER
VII. 51
Trees
CONTENTS.
XIV
CHAPTER
VIII. PAGE.
64
Skies
CHAPTER
IX.
72
Grass
CHAPTER
X.
77
Reflections
CHAPTER
XI.
83
Distance .
XII.
CHAPTER
Selection
and
Treatment
of
CHAPTER
Painting
from
Nature
a
Subject
87
XIIL
93 ....
LIST
OF
ILLUSTRATIONS.
LIST
XVI
"
Valley
Midland
A
The
A
the
from
Gleam
To
Venice
of
Sun
Venice
ILLUSTRATIONS.
OF
Lagoon.
before
Out
Going
the
to
From
a
Sea."
By
J. M.
W.
Turner,
face
R.A.
p.
87 92 92
Photograph
.
.
.
.
Storm
94 ........
the
After
Fete
Autumn
%
Valley
the
in
of
the
100
Ouse .......
Evening
the
in
Cotswolds
104 .........
PENCIL
Sketches
"
for
The
SKETCHES,
"c.
Page
"
Avenue
25,26 29
Morning ....
Ash
Trees
Chateau
on
the
Stow
Road
31
Gaillard.
33
Rockingham
53
Near
55
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Rockingham
57
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Elm
59 .
Lake
Bourget
Stow
on
the
the
On
61
(Soft Ground
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62
Etching)
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63 .....
A
Coming
NOTE.
Storm
The "
(Soft Ground
Copyrights
of
all
are
Etching)
the
Paintings
strictly
67
and
reserved
Drawings by
the
by
Artist.
Mr.
East,
here
reproducea,
.?
"*iSfBir^'^-jte"""^J^Bga
MISTY
FROM
MOON
THE
PAINTING
RISE
BY
ALFRED
EAST,
A.R.A,
it.^'.'
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".
"if.
ijSC-
*"
.iffl
LANDSCAPE
PAINTING OIL
COLOUR.
CHAPTER
ATTITUDE
YOUR
towards
time
confident.
one's
up Stand
to
confident and
and for
go
Look
long
made Do
not
to
go
work
your
is
no
interesting
millions
of of
one
should
of
imitation c
her
task, but the
her
ease,
an
surface.
a
it
and
as
it
;
a
in
is
of
his
Although
is
in
love.
fatigue
with
this
infinitely higher
respect
is
know
yet
direct it
quality
an
should than
and
ing approach-
life with
and
One
confident
not
simplest developments, spontaneous
have
fashion.
attempts
we
want,
you
of
a
Nature.
manly
labour
expresses
in
of
when a
n^an.
you
labour, something
great
She
directness.
then,
painter
evidence
Nature.
be, and
Art
revealing
Nature,
in
behind
years
apparent
your
the
of
sense
a
gets, after
wanted,
fatigue
confidently
Nature
of
if he
and
it
work
what
observation
keen
a
a
shoulder
your know
giving be
"
the
at
without
Nature
from
you
carefully,
as
the
once
and he
what
is
express
knowledge
spontaneous,
and
mind,
at
immature
There
consider
that
her
before
paint
feeling
respectful, but
love
grovel
and
with
fearlessly,
be
should
not
draw
her,
at
detect
can
it
your
up
Do
fashion,
manly
should
One
and
work,
NATURE.
Nature
authority.
your
I.
TOWARDS
attitude
same
IN
apparent. curious
a
there the
are
result
effort.
So
resemble the
mere
Paint Nature the
made
was
should
keep
closer
the
at
or
picture
from
your
sky,
your
in,hand
all
like
n.6 diseortient line
governedby form
a
to
get into touch
question
her.
we
Take her
about
effect.
You
will
in
with
Nature
of
the
taking
hour, for time
you
read
in I
find
gained that
the know well
if
that
in her
in
of
one
can
your
Nature.
a
what
something
the
of
observation
the
bones do
alter
in
and
for
action.
all the
moods,
but
its
form
the
instance,
day
every
peculiar
for
than
a
the
ought the
of the can
you
no
body
to
I
month,
of
characteristics
of
suit
end
same
things.
It is of
before.
the
at
the
sky
of other
so
every
will, in the
you
sky is,at of
more
to
of
more
of possibilities
morning,
every
One
one
sympathy
and
any
out
muscles
Art
in
learning
under
do
the
; and
tree
a
sky
from
of expression. possibilities
her
will
intimate of
power
in
see
sufficient
is
It
unduly
or
tradition
of
in the most
many
my
will
they
ruled
pictures,but
value
finding
paint
draw
I
be
she
matter
no
knowledge
names
Keep
false notes,
no
you
from
here.
and
work,
latest scientific book
escaped
what
to
learned
some
had
trouble
have
that
all
them
on
great deal that will be helpful. For
a
weeks,
the
finish
orchestra.
be
what
Art
The
in
succeed
few
a
Work
Have
not
by
of
and
what
her,
time, know
Art, but
means
of
not
must
you
discuss
not
expression of beauty
course
don't
;
an
conductor.
ideas
will
methods
all
masses
like
you
being.
first.
tone
business.
your
every
Learn
her
in
altogether your
is
her, and
that see
you
is
in
bring
colour.
or
what
That
Nature.
with
them
should
of her
distance
respect that, it
if you
broad
all
though
as
disposal. Respect
her, and
the
musical
a
mind irt'-.y'our
;:'.:. "Keep
Don't
or
;
your
and
great purpose
time, keeping
same
thern
the
man
a
at
of
abuse
the
with
be
to
Nature,
your
up
trees,
your
behind
from
you
of
authority
use,
your
lies
touch
Build
the
had
for
which
power
into
if you
as
COLOUR.
OIL
IN
PAINTING
LANDSCAPE
2
know
purpose
have trees
ing know-
use
unless a
you
tree
of
so
one's
without
composition a
in
draw
in
shall
such
are
where
they the
not
right
characteristics
if you
so
in.
the
and
why
of
knowledge
your
the
My
and
that
of
all
ing grow-
feel that
But
have
will look well
have
you
their
of
sufficient
if
as
they their
enough,
construction
their
as
is
are
and Find
get knowledge.
"
The
things.
greater be
stronger will
Nature, the simpler and
to
planted them
who
them
point
desire
picture,you
they
well
as
you
some
know
know
wherefore
confidence
before.
not
situation,as
could
If
yokel
out, for
if you
character,they will be right. out
do
found
But
of soil and
the
as
fiftyyears
some
will be
; you
requirements
there
he
ease
your
as
put his
can
paint,if you
to
of
he
one
in
selected
composition
them
do
artificially put
were
have
for the
to
much
as
instance, to put
growing
are
that
it, faith in oneself?
you
right to put
characteristics; just
knowledge gives
for
area
necessary
much
as
the
3
well
so
model, with
a
call
trees,
your
outside
I
of its
anatomy
This
repose.
authority,or, transpose
know
without
action
it
loss slightest
the
figurepainter should
figure
NATURE.
TOWARDS
ATTITUDE
your
work. You the
of
take
may colour
of
differences
of
the
objects on
which
the
of
clearlycut, difference You
harm
in
a
earth
with
beautiful
a
of
the
the a
your
strong
in
don't
The
business hand
a
may
note
valuable
thousand
the
a
do
little is
to
bits
the
do
the
great essentials
out
They
Nature
the
of
There
till you
with
one
interesting
progress
facts.
of
in
Japanese stencil,
dewdrop. it
from
photograph
a
like
landscape during
reflections
sky.
You
pattern.
beautiful, but and
sharp,
are
shadows,
that
see
like
study
distance
the
may
you
rounded
are
they
;
the
or
of
form
the
proportion to
thrown
trees
of reflections
note
may
in
are
time
note
studying and
forms
of the
colour
interesting,but grasp
of
may
wonderful the
and
You
they
another
of
day.
of
their
interstices
focus ; at
interesting study
shadows.
the
case
the
up
is are
learn are
very more
very
big things, for
your
no
to
work.
LANDSCAPE
4
You
materials
find, and
in
forward
are
responsiblefor Nature
right;
there
is
was
due
to
were
on
the
of
his
is
fault
a
kind
as
Nature.
We
makes
do
things
which
heart
them in
and
other
fields
be
to
part
material
done
Again, manly,
let
practice at awake.
working.
Keep
Be
your
there ; whatever
you
there
foreground,another
up
in
one
your
patches
the
entire of
picture
separate
to
as
one
not
want
do
essentials
felt and
them.
no
for your
you
that
supplied
be
may
beneath for
excuse
know
if you
able
tell
to
seen
working
are
from
do
to
and
your
you. it
us
as
thing some-
so
in
the
all
to
heart
open,
a
middle
here, touch
in
to
of
always a
touch
the
distance.
one
a
and
serve
sky, Build
intention; not
one
tending
drudgery
Learn
here
"
the
in
work
your
touch
great whole,
interests, but
place
men
approach
ashamed
correct, do
can
his
different.
picture together, a
your
man,
to
sketching.
eyes
and
look
And
will be
you
or
braid
have
is
secret
the
big strong
building
men.
you
not
drawing
Have
all
the
you
quarry
there
if it be
upon
same
buttons
what
You
you
they
the
that
for
it
to
Strong
and
yet
even
spirit.
that
the
gone,
impress
me
confident
constant
keep
they did,
as
new,
you,
from
was
have
the
show
know
it
as
want
expect the best
you
must
you
you.
others.
Paul's, and
great who
the
as
as
build
may
for you,
is
Nature
for
that
suggest
and
buttons
with
; you
to
If
living,sentient
so
and
man,
them
well,
So
And
Nature
thought
St.
for
contempt.
well
of
architect
The
of
reveal
can
of
the
want
You
material
The
tell you
reveal
does
beautiful.
Shakespeare. to
as
not
the
want
not we
he
purpose
they are
to
was
mean
so
does
but
history.
the pretty little stir the
be
not
your
only.
you
she
as
you
Hamlet,
stage properties;
in life which
to
beautiful
great purpose.
a
do, and
from if
even
purpose,
Shakespeare of
coat
a
you
failure,do
or
character.
all the
with
work
the
wanted,
not
are
world
the
Go
is
that
things
the
of
best
aside
led
be
to
not
COLOUR.
the
with
landscape
your
up
can
you little
the
by
build
to
are
OIL
IN
PAINTING
purpose
in
and
TOWARDS
ATTITUDE
only,
one
should
whole
be
spontaneous should
day
and
have
You
If
have feels
your of
in
calling, others,
best
in
that
you
the life.
work.
most
for
but
;
whom
if
you
might
think
pleasure
it
quite
you
speak.
knew
the
find
that
you
it
shame
no
be
and
is
finished.
courage,
stay A
You
are
you have
need
in
envied
following
wanted.
home
the
be
feelings by the
pleasure
the
not
those
and
painter
about
have
you
innermost
is
speak
to
that
sure
beautiful
a
at
of
by
deepest
landscape
speaking
useful
the
less
it
;
both
as
no
as
have
may
in
is
in
fatigue
thought,
direct
the
and
You
more,
lack
of
writhed
temperament.
your
I
and
and
and
and
of
No
wanted,
befits
weeks
that
sketch,
a
sense
done.
simple
conquest. you
no
easily it
as
enthusiasm,
no
to
be
your what
his
person
purchase
shows
and
groaned
should
as
be
given
have
may
enthusiasm,
you
the
you
another,
upon
should
have
5
confident
as
simply
were
result
work
interests of
;
have
other
it
may
secured
you
must
he
that
:
There
you
the
yet
sonnet
do
it,
night
anxiety,
if
as
at
certain,
Nature.
appear
sweated
and
sure
as
interdependent
being
part
every
NATURE.
what
sympathy ashamed
of
the
who
calling
of hearts
cannot
you
love
CHAPTER
II.
EQUIPMENT. selection
the
IN
and
comfort
a
cramped its
of
that
at
should
be
its on
be
an
mind
the
when
moment
and
An
the
qualities
secured,
then
Nothing
whatever
by
of is
striving rain
find
you
for
all
;
cloud
your
apparatus
whole
attention
on
sketch
the
to
downwards should
sketching
sacrifice
owing
easel face
stability.
of
side, if
mountain
a
can
advantage
full
your
your
What
sketch.
overturns
and
means
your
take
to
out-door
lightness
in
avoid
ness nervous-
arouses
successful
a
squall
easel
of
work
your
and
sense
also
should
in
sit
distracting
one
fixing,
distant
a
and
;
easels.
to
one
and
of
sudden
a
?
ground
deal
from
one
of
construction,
the
evil
production
effect, say
very
bad
wind.
your
annoying,
the
great
a
causes
constant
a
unnecessary
of
puff
in
passing
at
is
withdraw
more
occasions
or
that
The
and
camp-stools
and
that
drawbacks
additional
inconvenient
uncomfortable,
requires
every
demanded
is
a
position,
insecurity,
easel
an
and
the
mind
in
importance.
greatest
without
enough
is
the
bear
must
you
of
are
materials
that
camp-stool
A
usefulness
bad
by
incurred
equipment
your
difficult
is
art
of
bine com-
both
If
cannot
lightness,
not
the
a
ball-
stability. For
joint,
and-socket The to
an
The
suit
years
many
legs
rack
are
have
as
can
to
render
be
so
used
a
stiffened
at
telescopic
and
irregularity
any
angle
and
I
a
of
ground,
sudden
arranged
rack
the can
and
overturn
that 6
your
easel, revolving
angle
desired be
by
shortened be
can
by
the
picture
or
opened breeze can
on
stand
a
screw. thumb-
lengthened at
so
wide
impossible. perfectly
LAKE
From
BOURGET, the
Painting
FROM
by
ALFRED
MONT
EAST,
REVARD.
A.R.A.
EQUIPMENT. firm
upright and the
reflection of the
As
an
moving
easel
easel
to
into
This
easel
the
is
someone
who
be
labour.
I
have
it under
all
take
you
hold
the
that
has
not
seen
feet
the
an
poles at
easel. the
pole. sized
back
wind, while
a
up and guy
the
six
pole, it rope
prevents it being blown
rack behind.
while
in
poles.
These
One
the
screw-eye
a
for
may
or
be
from
the
the
hands
of
few
words
of
consists
of
form
is
hinged
over
from
made
to
pole
behind.
on
the
for
the
addition
half
screwed
into
You
raise
can
are
firmlysupport
and, by the resist
five
of themselves
screw-eye
more,
back
to
me
screw-eyes
so
a
This
diameter, and
this easel is, that it will feet
with
excelled.
be
i^ inches
large
two
put
fall into
fixes
an
than
provided
are
canvas-stretcher,and
required.
to
to
apparatus,
thumb-screw
advantage of
canvas
ring
the
small
A
about
admit
to
the
such
conditions, and
place. Brieflydescribed, it
long and of
elevation The
of
may
taken
grip the
cannot
book
screws, thumb-
brass
by
scarcely worth
is
used
or
be out
not
seven
into
it
packing
are
by taking
trouble
if you
this
largercanvas
a
will
which with
dispensed
large enough
screw-eyes screwed
a
it will not
however, this
As,
poles of
another
ordinary
unport-
overcome
fastened
used
course,
known
explanationwill
any
the
you
a
flat, and
possessed by
are
canvas-strainer
can
well
so
it.
back
fault
be
can
easel,which, for large canvases
describe
three
be
not
rack, unless
your
device "
Of
it
parts
countries, and
of
screw-eyes
the
as
need
process
many
extent
Hook
only
into
over
when
happens
rack
A
dry
to
objection when
an
journey, and
a
it excellent.
found
"
for
only
pieces,and
to
the
the
is
This, however,
things
the
pulled
colour
the
The
difficulty.
a
that, in spite of its light weight, it is somewhat
is
your
be
can
often
as
maintained.
upright position is able.
enables
creates
it is admirable.
also
joint
running down,
it
prevents
painting in oil, as
paint always
work
position, which
horizontal
easel
the wet
on
ball-and-socket
a
on
sky
water-colour
for
easel
great advantage when
very
a
"
7
a
gale the or
of
of
earth lower
LANDSCAPE
8
the
PAINTING
picture at will, and
it
IN
be
can
OIL
placed
at
COLOUR.
angle
any
irregular
on
ground. I have may
be
for
both
of
spoken
assured
the
that
health
the
from
use
ordinary chair, at
or
at
How
the
low
high
top, which, while fixed
prevents loss
by
time
of
tack
a
and
as
trouble
be
in
the in
out
the
adjusting the
an
with
tripod
country,
underneath.
stool
as
usually feel
you
than
of
resulting
high
as
seat
any
you
complain
stomach
the
are
the
to
students
is better
you
painting,and
highest importance
should
It
!
as
the
of
cramping
stool
least
of
in
many
mind, nothing
my
temporarily
be
a
ox-hide
strong
work.
comfort is
seat
easy
by
of
To
in.
ease
an
and
indigestion, caused
necessityof
This
a
can
plan
every
time
paint
your
seat
it is used. Now
picture.
There
most
of
using
a
will
painted, and
since
it is
The
tint.
softer
"tooth,"
surface
or
Some
appearance. less
body
danger
of
of
a
supply First
is
not
prefer a than
the
is very
of
manner
a
you
brief
which the
old
I
strain
the
best
I have
have
with
wash
to
surface
that
the linen
many
and
it may
white,
it to
shiny with
is, one it
a
pleasanter
oily and
agreeable,but
used
linen
spiritsof
tone a
the
canvas,
and
the
is better
It
of
medium
a
of
texture
away
habit
requires a is
less
kinds, but
the
there
prepared myself, more
masters,
descriptionof
is
fullyprimed, and
more
subsequent cracking. that
takes
half-primed
This
the
gives
and
a
the
canvas,
best
is mixed
sienna
also
upon,
it
give
to
little burnt
it.
the
absorbent.
too
matter
work
to
think
I
able, suit-
most
coarse
disagreeably the
turpentine
paint
agreeableis
after the to
easy
preparation upon
richer
most
which
which
in
show
not
quite an
turpentine
fine texture.
into
get
prefer a
some
the
is
which
who
to
are
you
to
as
artists
by
instance,
very
when
opinions
formed
For
which
upon
many
them
choose
grain, which
canvas
are
kind.
one
others
the
to
as
be
worth
less
or
while
process. sail-cloth
of
moderately
fine
EQUIPMENT. texture
over
afterwards
is advisable
This
of formalin. the
atmosphere
the
a
little
size,and
ground
of
should
be
not
exposed
the
to
discolour
reliable
as cracking,
The
first
with
to
come
wood, thoroughly seasoned, temperature and
places the lid
dry, and
the for
moisture.
box the
well-seasoned
15
inches
box
has
strap
so
a
12
to
brush
case.
is
knob
on
carry
pencil. D
have And
the
bottom
not
be
size.
good each
it from
side the
to
;
hence
is
It
which
not
of
changes
of
if
and
wet
the
one
the In
necessity
It
course,
best.
fix
can
you
room,
do
made
should
in
About
advantage
an
of
you
more
made (originally
if space
sure
tends
without
morning, gets
shoulder.
can,
and
is
be
the
the
turpentine,and, you
The
quality.
are art-colourman's)
any
It
properly closing.
ordinary boxes
at a
its
same
always colour
bear
in
size
side
one
should
work
reversed
are
The
inches
colours,medium, palette,
though, if you
at
grass,
conditions
obtainable
brass
as
dewy
wood.
now
by
When
the
a
marks.
on
inferior
to
the
prepared
so
support
it has
in
darkness
This
the
afterwards.
put
canvas
shrinkage will prevent
these
evening
France, but
the
on
be
box.
since
white
surface, add
least six months
paint
of
finest
best
brush
coarse
preparationsof
the
the
is overlaid
no
it will
the
applied when
possible,as
other, and
happens
is
second
leave
action
scalingof
is
and
It
solution
a
the
use
absorbent
coat
believe
I
I
size.
and spiritsof turpentine,
an
A
as
of
fungi by
which
described, may
lead.
any
we
want
far
light as
wash
a
oven,
you
to
of
oil and
for at
have
white
than
Now
taken
I
as
an
smooth.
painted on
treated
canvas,
water.
and
in
linseed If
being
care
size with
thin
of
coats
prevents the eventual
so
dried
varnish.
two
or
it two
preparation
bleached
thoroughly dry
manner,
to
the
on
with
copal
spoonful is
sterilise the
to
clay, thoroughly
lead,mixed
give
prevents the formation
The
paint.
china
strainer, then
your
9
if the
broad
a
contain
permits,brushes take
forget your
a
;
separate
charcoal
and
LANDSCAPE
10
screw
should
contain
colour
demands
the
from
in
enough
These
do
just
t The
to
a
For
mention
this,
carry one's
to
own
considerable
a
should
you
take
only
the
sizes
of
small
the
tubes
are
visible
is not
desire
till it
waiting
greatest solace.
lead
securityof
fumes Messrs.
suggested
to
the
Madderston
"
save
weight ;
flake
white is
work
generally
at
are
the
time, you
on.
I have start
you
from
away
rope,
the
desire ; of
sure
sun
disagreeable and larger sizes
out
quarters, head-
you
harmless, might be the
in
picture you
effect
are
large
groove
easel, made
Co., which
for studio
the
When
guy
be
is
comes
miles
the the
arisingfrom
box
the
of
study
a
arrived, fixed
the
prepared by
for
palettefits
should
slip into
sunny
added
The
The
the
have
that
brushes.
promise
you
"
dipper,which
be
after
:
comfortably.
the
the
if desired.
madder
may
may
white
for
are
the
with
follows
as
subject which
day
If it is found flake
panels
are
box
either
you
the
and stability, *
that
panels, which
effect you
wood
morning
wood
while
sketch
a
these
new
I
has
box
according
vary
subjects are
your
box,
largest
useful
are
if the
painting,or,
the
will
them.
one
The
needs.
your
palette,together
your
your
several
hold
lid.
but
tin bottles with
places.
to
rest
upon
replace rose
can
is space
receive
to to
in the
the
when
that
the
into
go there
them, and
found
made
constitutingmy
should
These
can
and
headquarters,so
Vermilion
the
be
in square
proportion
white
happens
usually taken
tubes
made
in
consideration
a
your
colours
The
over
be
be
COLOUR.
weight.
minimum
the
is
it often
material, and distance
tubes
OIL
in their allotted
snugly
likelyto
weight
because
fit
largestwill
instance, the
IN
turpentine should
tops, and
should
to
and
medium
The
PAINTING
are
its
may injurious
used. better.
EQUIPMENT. itself behind
abruptly conceal extend
if you
walked
colour
your
original conditions
under
which
is
crisis where
a
of
which
making
satisfaction
artist Some
his
has
prefer
again
like
doubt
the
round
a
thin
of
a
brush
had
as
matter
as
to
and
others
"
In
the
this
the
grey
sky
panel has
one
of
the
weather,
"
!
brushes. make
thin
a
the
or
other
her
The
man
She was
brushes, he assured
(mentioning an
paint
fluid
with
a
hold
a
upon
dilution, is
medium
the
equal to
eminent
from
depend
mind
of
all the
inquired if
her
No
nature
will
without
upon
colours
some
;
the
that
tubes
the
one
upon
also
must
shape.
opposite.
who
those
Every
and
flat
select brushes
to
buying
brushes
"
The
change
of
problem weighing
was
some
the
just
of
case
oil
colour
So-and-so
spend the
away.
depend mainly
greater quantity of
tree
under
happily.
so
can
you
their
brush, others
from
"
any
by
the
direct
for,bringing round same
lost
painting confrontingher.
tree
in
come
to
landscape.
your
box, and
the
choice
distinguishedlady,who of
in
must
colour.
I remember
employed.
lid of been
is necessary
the
reference
by
thrown
One's
uses
whether
has
ones,
the work.
larger quantity one
the
advice
full
pattern of of
been
not
peculiar idea
own
vexatious
disaster.
a
give
palette,it
generous
whether
like
to
round
method
of
feelingnothing
is difficult
an
particularshadow
sketch
a
common
more
values
temper,
doing
all, has
groove
first looked
at
It
of
evil
an
knows
larger enterprise.
your
after
the
slipped into
in
study, or
a
postponed
morning,
which
back
the a
panels
preparations
too
started
you
pencils and
the
tramping
in
has
The
or
it is
to
seems
matters
far
paint
to
correct
morning
the
distance
to
Instead
or
climate, and
such
is
it
which
all your
in
experienced
Unfortunately
some
clouds
of
reach, and
can
One
is.
block
a
eye
uncertain
our
road,
a
This
and
this
in
have
across
the
the
as
wasted.
annoying
experience
is
back
be
to
appear how
far
as
II
the
a
culties diffi-
keeper shop-
the occasion,
they were
exactly
painter)used
in
PAINTING
LANDSCAPE
12
head
your
results.
to
as
There
is
effective one, is
trainingof hand, though
naturallylike and
out
of
size
to
I
in
the
8, and
one
sables
end
the
Now
have
I
provided
you
both
for
the
for
day's
work
soap
and
order
before
setting
quality and
the
are
brush, of to
o
few
branches
three
four
each
always
wash
water,
warm
of
the
of
will be
cient. suffi-
brushes,
your or
from
haired long-
the
larger ones,
the
are
size
a
A
2.
or
some tire-
help you.
may
drawing
two
or
one
such
are
best, for these
hair
hog
would
saying. Well,
you
Do
will find butter colours
water
you
with
in
put them
you
to
oil
use
forget
not
and
copal
take
to
muslin, costing about
taining con-
brushes.
By
a
a
medium.
It is
piece of painting
3d. per yard, excellent
it is effective for
oils,and
and
box
camp-stool, easel,
spirits of turpentine
advise
well.*
dries
and ;
should
I
way,
rag
items
the
sables, and
with
colours, medium,
safe
ment achieve-
containing paraffinoil.
vessel
the
of
convenient
the
in
sables, sizes
small
turpentine or
in
only
through
They
which
hints
few
be
full
"
fancy
important
a
these
of
certain
brushes," yet you
materials
them
use
two
of
The
work.
into
and
familiar
brush, but
tree
can
a
you
our
long hair, and
At
a
least
be
hard
fads
any
arriving at
the
painted.
are
give
the
I
of
the
"
paint,"I
to
Let
or
each
medium-sized
either
trees
all
end.
for
ask
have
not
may
Two
trees.
things
brushes.
your
cheapest
of
how
must
we
work, and
to
style
later I will
But
Meanwhile
the
not
know
to
and
get
brain.
may
you
study
and
eye
difficult
they are.
by
to
is
It
of
that
reached
not
you
method.
one
namely,
not
But
but
COLOUR.
specialmethod
or
easy
any
of
beg
I
painting landscapes.
OIL
IN
wiping
off
colour, if necessary. To
sum
Put
*
linseed
your
Quick drying oil,and
with
up
amber
a
practicalhints
few
things right the night poppy or
oil is
excellent,or
copal varnish
is
a
good.
medium
:
before
made
of
starting. equal parts
of
spiritsof
turpentine,
EQUIPMENT.
be
Don't
be
Don't
so
Open Approach Don't
hurry
a
for
provided
Be
much
in
forget
you
such
emergency,
respectful
too
Nature
to
that
something as
at
a
the
change
is
of
beginning,
necessary. effect. but
very
finishing.
when
and
heart
your
with
Nature
try
an
lest
13
to
be
the
sincere,
widely.
eyes heart
but
of be
a
so,
Don't
child.
and
be
strong.
be
perverse.
CHAPTER
III.
FROM
SKETCHING
DON'T
take
less
bad
tools
to
truest
economy
think
that
take
should
to
with
much
because
simply
your
sketches
this
respect.
will It
to
be
when
had
you
had
you
pleasurable anticipation
you
the
as
subject
shadow
would
should
be
be in
which air
is
the
turn
the
of is
is
scene
when
you
open
your
*
You you
can,
hope
sail
road
easel
the
even
discovered
it.
box.
!
of will
course;
last
have it is
your
you
and
in
your
subject and
it
than
Your
pencil brushes
sketch-books
absolutely
and to
necessary
14
have
and
appeared
You
have
the
of best.
the of
treat
the
distance
The and
arrive,
at
your
palette prepared.
your
is
canvas
a
tions considera-
You
!
outline
?
the
columns,
subject,
your
will
enjoyment.
great
in
Full
other
many
past
if
or
effect
whether
oblong,
shorter,
of
sketch
to
how
an
not
forethought
thinking or
to
success
you.
beautiful
your
the
certain
a
the
is
need
you
miles
anticipated
of
mistake
with
arranged
outline
more
Alas
see
you
a
material
or
your
up
clouds
draw
longer, otherwise,
or
fixed, your
carefully
the
which
the
away,
upright
if
make
to
go
start an
better
sunlight
fresh,
camp-stool You
whether
;
sketching
no
also
your
under
seen
It
as
several
use
can
so.
sketch,
on
those
do
well
as
walked
probably
is
to
depend
extent
who
to
It
going
have
you
not
enjoyment
real
large
a
may
particular subject day before,
The
you.
choose
are
better
workmen
materials.*
you
the
tools
your
The
sketching.
go
you
only good
they
best
the
use
use
is
and
purpose,
any
to
It
be.
when
out
how
know
you
tools
makeshifts
any
NATURE.
inferior
feel
you the
day
done, left
quality,
before
and
you
them
but
that
for
at
work
MEADOWS.
MIDLAND
FROM
THE
PAINTING
BY
ALFRED
EAST,
A.R.A,
FROM
SKETCHING
home!
Then
situation
quite to
If
where back.
tramp
are
that all the
which
now
Be
pitch. Every quick sketch
be
nestles
the
if you
effort ;
along
the
sacrifice. dawn
much
cut
of
have
is
seemed
which
to
the
your
repeated. never
history,they
never
seen
high
a
keen
not
the
particular for
at
the
seem
two
a
got
with
the
when
white
be
mists
cold,
it
or
repeat themselves.
two
When
which
subject. Beautiful under
seen
!
Never
worth have
is
of
sunsets
you
the
stolen
worth
cannot
long experience dawns
of
edge
it may
dawn,
the
the re-lighting
important fact, you In
of
waited patiently
the
has
shadows
country.
our
it
have
at
amiss
of
meadow-land
sweet
lightingand
does
you
dinner this
your
subject depends,
the
wood,
lingered until
have
to
are
miss
your
nothing
of bed
out
get
Nature,
strung up
may
which
grass,
lovelier
for which
sunset
I
small
work
your
from
be
You
peculiarcharacteristics
flats,and
a
observation Unlike
the
For, remember
or
as
alert,for if you
across
is
if you
or
find
may
only brought
subject the
your
village.There
have
see
singlesitting.
a
and
specialconditions
mind
way
and
You
start.
sketch
a
charm at
for
over
how itself,
it is in
your
bag
a
well
but
uninteresting!
Things
must
the
distance
the
trudge
get
have
if you
even
alternative
no
and
you
you
You
England,
middle
expresses
once
emergency.
on
whole done
of
steal
little
a
at
everything.
have
you
distance, the
as
miss
may
should
sailingclouds
be
must
Midlands
the
so
pleasure as
put forth.
the
be
It may
It
be
which
effect upon
is
tedious
when
every
them,
feelingsyou
is, that in making
sense
you
there
so
the
express
happen.
reason
must
fetch
to
in it before
your
for
prepared
full powers
of
will
big brushes
versd, thus
vice
Another
each
seems
you
man,
to have
and
them,
different
what
improbable sometimes
and
left
15
adequately to
available
thingsrequiredare
it necessary
spoiled.
had
With
words
proper
rustic
no
wise
a
no
you
road
the
you
ones,
is
there
:
knew
along
has
one
NATURE.
the
get
a
careful alike. have
i6
satisfied when
have
best
conditions
achieved.
which
the
shadows
sunlit instant
will
you
have
may
no
When
which
dark.
Allow
The
exact
effect the
is
of
the
local
colour
hills.
The
tones.
the
must
darker
ask, to
of
and "
the
a
a
Why
not
so
exact
pitch in
I
piece of
paint
as
every should
many
shadows
the the
of
the
a
It
is
"
the
pictures showing
the
a
its
trees
in
you
a
divided
to
the
but
road,
under
all it
across
luminous
a
the
edges You
have
he
subtle
the
same
are
may
been
told
does, let
paint
sky.
more
preceding
shadow.
for what
suit
to
since
a
of
that
too
shadow
shadow
a
easier
much
landscape
of
the
Note
down,
I know
reason
a
your
of
material
Observe
general colour sky
of
colours.
the
to
it.
laid
sky.
first ?
you
appear
is
relation
instance,
cloth
dark
an
and
your
which
across
For
of
it
recognised as
painterhas not.
than
be
your
for
sunlightand
suggests the
shade.
and
than
landscape of
grass
that
reflection
colder
explain why
cause
like
so, and
do
suit
light
be
full of
tone
the
should
material
the
note
shadow
in
below
place to
its
work
easily obtained,
more
relation
in
but
whiteness
your
drying
the
Then
its
has
the
road
not
make
tone
paint
road
conditions
may
Afterwards
quality within for
and
and
green,
contrast
continuous.
more
the
for
is
progress
foil to
glance
in
day.
allow
hillside
the
borne
clearing to windward,
that
for
be
wide
a
if you
must
little,too, of
such
ever
qualities
The
you.
that
is
supreme
things to
many
and
is
shadows
cloud
a
are
the
with
start
a
out
that
nothing great
give
you,
sky
the
by strong
tone
exact
for
start, you
you
canvas,
that
more
are
hills,which
wait
not see
make
best ;
stayed
or
certain
are
alertness
and
There
the
on
trees, will
morning,
keep constantly before
must
you
then
looks
subject
you
which
without
Nature.
from
when
;
you,
confidence
Courage,
sketching
mind
before
are
confidence
and
courage
evening
COLOUR.
your
after
early,morning
after
dusk, evening
very
of
risen
OIL
IN
conditions
what
under
yourself
you
till
in
PAINTING
LANDSCAPE
The
purpose
a
sky
me
to
frequent in
this
SKETCHING
the
respect arises from vice versd.
You
its trees
as
the
upon
each
other,and
the
most
in
always
of
but
landscape The
and
strive
keep
to
you
which
make
in hand
will be
your
masses
were
niggled to
described deals
with
of
storm
of
each
a
the or
may
be
a
of
But
serious
brought E
one
dawn
careful
into
study the
you
larger
lose
sketch.
them
of
big things
the
There
beautiful
the
study the
and
trees
details at
your
of
your
And
masses.
details
never
as
service
shall
that
than
if
sketch
may
be
shadow, sense
the
pertainingto
drawing
later
and
sun
they
sketch
realise the
must
may
The
sketch.
a
conditions
of
for
A
eff'ect of
which I
you
will find that
you
in this way,
faithful
a
which
forms particular
the
of
sunset, and
is
pasture, of light
essentials
the
are
passing
picture,and one's
moment
will
in
sketch
neglect the
general breadth.
peculiar set a
to
sufficient,in all conscience, for
are
study
or
be
fervid
a
your
The
to
realise
to
correct, if treated
a
as
of your
the consideration
big things, the
particularportion of
painting
charm
foreground and more
far
values, you
land, of
these
study, but
effects.
only
can
sketch.
and
the loss of their
rain,
begin
tone, these
without
particularand
various a
as
greatlydepend
give
good.
sacrifice
sky
and
your
up
you
a
details of your of
5o
In
your
make
and realise,
to
forms
or
much
and frankly, fearlessly
be
is the
never
harmony
exact
down
temptation
must
the
landscapeas
is to
will
with
can
you
you
to
the
shade, of colour
must
moment
get wrong
is, I know,
leisure, for
sky
arranged. Nature
set
it qualities,
spontaneity which
Nature,
cloud
been
possible.
manner
above
will
of
have
the
composition,they
your
sketchingfrom
hesitate, the
facts, you
the
as
the
landscapeto
belong to
to
its characteristics
the
the
17
place,its biggest facts painted in just relation
direct
to
sense
of
contours
the
impression of
begin
sky
existing contours business
endorses
the
its fields,and
or
NATURE.
of unsuitability
want
put in after these Your
FROM
be
or
useful
describe
painting of to
you
how
particularpurpose.
in
both
LANDSCAPE
i8
if you
Now
fairlyand
well.
done
have
worked
under
hot, every
as
piece of would
make
know
not
sketch
and
should
proceed
or
in
character
They of
Nature
under
worthy
of
are
sketches
of
a
works, where should
artist
is
better
of
the
the
stand
best
subtler
to
of
our
to
that
his
a
you
Nature,
in
those
under we
in
in
the
still,or
Nature
analysethem,
disguised.
Since in and
rain
the
it is the
study
give
the
conditions the
of
morning,
evening
the
from
shadows We
so
we
difficult to
fervent them
are
cannot
cloud, so
I
Gallery.
to
landscape.
arrest
limitations. of
the
the
elaborated
National
start
account
from
more
the
intervening hours of
that
it is difficult
form if
the
pictures.
learned
is
the
appreciation
on
his
right,and
contours
aspects
necessary
of
and
from
than
of
left to
from
through
sun
sketching,it is
I
of
reveal
finished
is to be
more
study
mind
command
the
impulse,
I think
delineation in
his
expression
rapidly,since
the
observe
sketching from
interest, sketches
vivid
to
you
shadows
the
you
how
you
psychologicalattitude
his
continually modifying make
separate
picture.
your
show
clearlythan
more
sketch
to to
the
a
might
characteristics
to
when
great artist like Turner
right to left,and
must
like
specialemotional
a
much
the
the
on
and
otherwise
them, in
all
fervid
sketch, you
them
you
intrinsic
preservation.
necessary
have
to
would
be, the
changing light. Bear we
I
even
strongly advise
It time
their
should
or
are,
and
out
of
many
them
keeping
details,and,
use
had
equally
your
study
practicalmanner
a
to
the
of
very
in
be
of the
careful
have
thought, you
objectof
things,you
many
study.
a
addition
In
the some
point
to
in
to
to
should
fixes
changing effect, you
succeeded
to sufficiently
study,
a
making
a
them
endeavoured
have
have
realised
Having
canvas,
of
which
sketch
and
attend
to
sketch
your
relaxation,turn
a
had
COLOUR.
obtaining a
passing
a
great pressure
of
part
spontaneous. then,
have
fire,and, if you
the
in
in
facts of
You
OIL
IN
succeeded
have
truthfullythe
have
irons
PAINTING
heat
of
separately.
FROM
GIBRALTAR,
From
In
Painting
the
the
Walker
by
Art
ALGECIRAS.
ALFRED
Gallery.
EAST,
Liverpool.
A.R.A.
FROM
SKETCHING
It
is not
only
but profitable,
a
engaged
picture of make
to
parts of
thus
accumulate
a
largerscale.
a
In
value
it any
has
nor
which
aims
truth
the fresh
the
unites
picture is
that
a
Of
of the
means.
colour
sketch order
in
necessary,
should
is
while on
attention
your
the
is absorbed
element
of
Landscape artists
by
wider
the
is
Nature You
want
they the
are
form
is the
moved
by
are
and
dust
there ;
or
dirt,
or
and
cinders the
you
want
they
also
you
She
may
are
choose
and
with
you,
both
at
outline
end
the
cipline dis-
but
it is
subsequent values, even colour
good
"
colour
of the be
may
effect,
recorded, Nature,
in
colour
; but
subordinated.
much
inspired conceptions.
of
details
of
Nature
those
To offers
who
everything
make
clouds
the
the
complexitiesof
critical moment
there.
study.
whereas
once
more
suggest
in
in its chromatic
the
the
form,
reference
as
that
the
moment
one
which
picture,
cultivate
accurate
realisation
attributes.
bigger
;
contemplation of
always responsive. the
of
achieve
minute
a
sketch,
study,
objectof
you
for
not
secure
perforcevery
painting
the
means
unless
always
the
seek not
the
"
sketch, with
the
general
in the
is
"
and
The
form.
everlastingfires
rubble
is
engaged, at
one
the
Some
is
of
when
form
is
finally,the
is the
all,true
possibleto
exactness
but
and the
devoid
hardly likelyto
are
you
The
it be
transitory. If
I think
be, above
its form.
if false in
;
fulfil its purpose
to
work, that it should
be
colour
are
I do
course
the
not
picture
stages
;
sense,
for
do
Nature,
three
which
others
best
attained,in the
be
cannot
form
impressionsof
end, the
the
of
form
material
is
one
practice.
as
are
of
systematic comprehension of The
except
make
to
subject
of
mass
unfinished
command
chiefly at
itself to
devotes which
An
there
landscape painting
In
the
sketching from
incomplete pictures.
sketch,
pleasant pursuit
very
component
and
upon,
19
the
of
pencil drawings
a
NATURE.
up which
You
peaks
;
others
love
her,
you
ask.
mountains
mingle may
which
choose
"
with the
keep proud
LANDSCAPE
20
with
company
of
blade
every But
the
meadow, harvest
field.
but
do
faithful do
we
that is
the
in
immense
tree
whole
a
sketch
feel
from
The
Nature
touch
able
(so
the
landscape
going
which
the
over
have
you
the
as
after
comes
the
colour.
Your
paints must
colour
the
time
passing loses
truth
is
as
of the
than
fact
moving, would
be
carefullyrealised
living impression
and
of
not
is to
you
draw
slowly, but large
of
colossal
a
well
as
as
surely,you
will
and
you
picture painted, before
you
start
as
a
canvas,
its
you
charcoal
yellows, reds, in
placingyour
is of the effect. acumen
cannot
The so
and
effect
quickly
that
lose time
pencil.
wards charcoal, afteroff the
your
the
will
start
on
charcoal,
With
practice,you
arranged
at
be
dence confi-
able
palettethat
on
your
when so
you
you soon
must
It is necessary as palette, are
it
the then
to
saves
to
with
once
handiest, viz. white, and greens.
pigments
crucial
dust
pencil, and
so
value
then
your
is the
blues
utmost
afford to
by
and be
possible with
pencil;
considerable
frequently used
most
system
and
; and
simply
aggregate
living and
and
"
your
left
drawing
with
a
of
speak
see
lines with
dispense
follow
to
the
petty details which
it is
is the
give
to
of the
brush.
a
Draw
and
enough
speak)
to
I
day
every
yourself competent
will be
advice
broad
a
tiny blades,
suggestion
sense
to
with
of
The
towards so
in
sweep
only
innumerable
of
forbids.
general suggestion
that
one's
law
wide
see
multitude
leaves,and
being,
a
broad
a
strive
to
as
"
detail.
repositoryof to
with
goal
the
paint
may
grass
is covered
outlook.
painful mass
The
as
be
he
no
;
of
in
corn
a
satisfyingto
and
leaf-units.
and
ordinary
is thick
tree
of
blades
meadow
would
an
COLOUR.
painter wishes,
individually; we
colour, as
more infinitely
an
a
and
see
the
them
see
Nature
not
the
OIL
enjoys perfectfreedom
know
We
not
to
He
IN
particularisehis
not
form
their
of
If
specify the grains
nor
we
heavens.
grass.
should
he
PAINTING
have
time,
rapidly sketchinga
fades, and not
by wandering
trust
round
one's to
memory
fore it ; there-
your
palette
"^'^
.*
'^
if
"
MORNING
From
II
MOON.
the
Painting
by
ALFRED
EAST,
A.R.A.
FROM
SKETCHING
for
certain
a
The
place
any
note
intimatelyas
as
you
colour.
the musician.
thinness
oil, is helpful. With on
not
known
Do
later
can,
miss of
composed
linseed of
supply
fearlessly, always
limits, you
is to
not
ample
an
to
piano
medium,
holds
which
reasonable
the
thin.
too
little
frankly and
canvas
your
that, within
brush
a
of
be
varnish, turpentine and
amber
or
should
keyboard
A
colour.
21
colour
the
on
of
equal proportions of copal
colour, lay it
each
of
plenty of paint,but
Use
soliditythrough
NATURE.
bering remem-
correct
on,
mistakes. The
sky
be
can
with
yellow ochre,
it.*
Exact
in
the
settled down
what upon
displays the
varied
thus
a
affords
sunshine. shadow
and
in
green
those
The
used
bright
cadmium
deep
and
in
extreme
Nature)
the
and
mind
the
Fields
as
which
for
of
*
See
it
falls,and
the
might
chromium,
ochre
in
trees
though
shadow, you
may
in their rich
vivid
yellow
shadow
cottages in
between
of
the
Utilise
the
and
which
oxide
of
sure
the shadow
church
were
colours
and
not
have must
cobalt,or
blue.
may
impression
Having
;
which
over
in
subdued
that, although the colour
distance
for colour
as
ascertain
values.
your
into
areas
to
quite
difference
transparent
French
sunlit
shadow.
not
are
ground
combination
a
the
leave the
more
and
in
is essential
correct
foreground grass,
representedin
cadmium
Bear
light.
sky painted
perspective. Perhaps
quickly detect
sunshine, become
luminous.
be
of the
white, tempered
difference, place the
well
as
the
and
you
to
form
aid to
in
less
now
if
the hillside,and
will
It
exact
shadow
contours
on
You
the But
for
valuable
the wood
cross
be
another
shadows
cloud.
sunshine
the
of
important
as
the
of
coat
a
patches
are
canvas.
for
cloud
by
feel to
your
result, wait your
colour
between you
blue
the
shadowed
space
difference
the
and
and
tone
first with
painted
that
be
lowered, it
it is
chapter
of
on
"
composed Skies
"
(p. 64).
the must
of
middle
distance
convey
exactly the
(as same
in
materials
that
;
as
distinctlyas
to
inquire,no
is to that
the
hesitation
in
but
large
depend
more
individual have
I
colours
doubt
that
difficult to
of colour
rather
you
will find
the
paint, and
fear
I
white, thinking they will thus This
tone.
describe
is not
pigments, but
or
fresh
a
All
the
remote,
not
only
the
of
may
require white, yellow
rose
madder, ask
medium
white,
than
more
This
is
from
Nature.
You
material, and
when
the
fatal
When
wood,
completed harmonise forms with
a
by
have
you
fuller
body
of
have on
sketch the
clouds
painted
with
composition, and
the
structure must
their
alteration
of
in the
the
ground fore-
distance
far
distance,
umber.
raw
we
of actual
middle
Now
colour
with
I
oil
or
facilityin working. when
painting
somewhat
the
technical
great advantage of
stubborn
difficulties of
being
able
to
paint. the
foreground,the
of
the a
contours
character
be
mid-distance, the have
village,you
exception of
preserve
Their
the
for
the
overcome
same
addition
Thus, while
your
master
to
the
change
amateurs
many
objects
the
by
a
or
dilute
church, the
the
landscape.
ochre
to
so
learn
must
the
with
of the your
diminution
distances, which
demand
absolutely necessary made
error
light the
painting not
is
various
blue, and
and
yellow
find
you the
judgment
use
desired
of colour.
ochre
will
craft, you
manipulate
the
artists
strongest greens,
little
a
in oil
you
a
of
;
hillside,
a
middle-distance
the
secure
combination
consist
may
would
than
many
case.
the
middle
as
on
criterion
size of distance
own
fields
grass
foreground,merely dilutingthem
in the
as
of
halting
no
diminished
objectsexplain their
the perspective,
just tone
a
be
must
The
like grass
objects.
no
extremely
of
case
look
must
There
assurance.
instance
aerial
upon
in this
being
this
COLOUR.
grass
foreground.
for
as
spaces,
distant
familiar
other
OIL
IN
the
say, in
trees, houses, and
of
PAINTING
LANDSCAPE
22
the
sky, and
landscape suitable must
in
practically
as
a
that whole.
relation and assist
keeping
the
The
sympathy
the lines
with
should
of your
effect you
SKETCHING
have
must
near
elected
distance, of
little
bit
sky,
and
should
you forms
of
you
the sketch
your
still
confront
which
well
alone
the
subject
on
Nature
;
experience
or,
the
first
you
has
not
are
if
have
vivid
privilege
pleased
with
the
is
weather will
gained
the
and
guide
nerve
See
chapter
"
on
Painting
from
Nature
"
(p.
93),
your
not
passed; the
though relations
repeat and
same,
you
of
Leave
work,
day's
attempt. *
has
creating.
the
that
Do
exact
of
the
foreground
and
the
the
the
after
impression, invent
into
heavens.
sought
you
cannot
you
only
if
effect
the
of
in
put
it
the
have
you
melts in
pool
for
or
may
beautifully
grey-blue
the
to-morrow
you
the
for
you,
Now
You
the
studied, meadow
the
hills.
so
whether
or
now,
improve
cannot
which
consider white
of
composition.
your
be
must
width the
of
distance
extreme
reflect
colour
next
perfecting
will
the
distance
23
also
scale of
sense
the
or
opportunity
hurry
the
lessen
not
Their
paint.*
to
NATURE.
FROM
for
the
your
CHAPTER
PENCIL
DRAWING
touching BEFORE pencil drawings The
paint.
days
on
The
curbed
impatience,
his
For
a
this
I
would
with
pencil
be
screwed
of
the
and
in
but
;
should
main
satisfied, draw touch.
Do
important, will
not
you
by
within in of mere
a
few
your
characteristic think
to
If
view.
By
minutes
which
proposed outline,
wish
you
if
to
seldom
he
drawings
in
Include and
what
you
only
things
have
practice
you
You
will
can
and
add 24
are,
doubts,
any
spontaneously
like,
After
be
for
the
they all
draw to
the it
of
a
shading
make
the This are
you
bold
firm, which
are
experience
some
indicates carry
a
things
able
lightly,
when
with
to
edge
masses.
and
those
the
use
features
the
big lines,
essential.
these
of
can
attempt
Touch
line.
use
which
not
line,
outline,
an
pencil.
thick,
salient
position of
I
Do
a
the
the
lead
thin
a
such
manner,
courage,
picture. you
had
book
inch
an
get
need
and
hesitate.
intuition. your
If
with
is
linen-covered
thick
a
required.
suggestion
it in not
stop
when
possible
merest
many
avoided
preparatory
large
of
one-eighth
holder
contours
the
of
a
size) and
good
a
will
you
faintest
the be
the
series
to
composition
been
have
intends
spending
the
that
recommend
lead,
point.
a
the
subject,
in
up
lead
is
loose
a
it to
sharpen
inches
12
after
of
sketch-book.
his
by
series
a
afterwards
may,
might a
make
one
conclude
executed
in
purpose
should
one
painter
disappointment and
NATURE.
subject
the
of
composition
inches
(15
brush,
a
picture, despairingly
a
the
FROM
landscape
hopeless.
for
IV.
will
you to
come
that
comes
a
drawing
principal parts step of
beyond the
the
broader
DRAWING
PENCIL
for you
masses,
light and will
do
influence if
wonders
with
such
opportunity
that
It
useful
more
you
quality
you
already referred should
take
can
of
or
You
two
the
You
may
do
you
will
be
will
by
of
movement
that
it
badly
surprised
time
have
and by previous theorising,
qualities of
FIRST
F
SKETCH
drawing
FOR
"THE
at
than
AVENUE."
first. the
at
you
will did
for
any
companion. that
of
useful
In
mind.
progress
before.
ready
specific
it is
ground, fore-
anything, everything.
Never
begin
a
sense
bit
Draw
more
book sketch-
interestingcloud
an
some
figure.
a
learned you
or
have
two
or
your
constant
of
note
a
formation, the peculiarshape of trees, or
your
painting,
week
to, but
colour-box, in the
your
You
be
A
form.
of
when
only
not
"
in
pencil-work,as Have
It
than
25
practise daily.
that
as
occurs.
convenient.
more
the
NATURE.
in
that
all times
at
you
object in view, is
discover
may
shade
FROM
you
than
you
to
look
You
a
week
have
made.
ever
knew
will
for
better
construct
SECOND
THIRD
FOR
SKETCH
SKETCH
FOR
"THE
"THE
AVENUE
AVENUE."
THE
From
AVENUE.
the
Painting
by
ALFRED
EAST,
A.R.A.
things
better ; you
of the
various
will
the
note
and
landscapes,
result,you You
will
trials for
in
the
In
different.
the
distance, and
practisethe not
second
third
elm
and
get
idea
of
the
re-arrange
Draw
let
the
of as
is
others
many
placed
the
Draw
in
the
before
material
trees
the
in
wards after-
I
frequently
to
ash, which
the
proceed
the
to
landscape,
so
oak, to
as
competent,
are
you
all
they
as
which
you
the
suit
book sketch-
my
alteration
an
when
to
you
satisfactory
spot, but
example,
then
of
have
you
from
same
;
the
of
designs
a
of the
for
will
confidence.
recommend
composition, and
the
obtained
composition
Take,
trees.
you
you.
drawings
made
final I
for
illustrations
have
I
the
poplar.
anything prevent
intricate
is
pianist,so
have
you
purpose
sensitivelyobedient power
of
He
does
produce harmony,
form
sees.
is
not
but
long practice,and he
and
the
artist.
brain, and
observation, like the touch
keyboard.
what
the
to
The
stop
obtains so
the
of
a
it
by
artist's hand
delight in
only surpassed by
the the
easy
delight
which
the
grows one's
upon which
is the
the will
result
naturally expresses
as
and
hand
interval
the
instinct
an
hand
directlyto
musician's
is
It to
are
One's
answers
calculate
to
exercises
scales to
day.
little every
a
big cloudy sky.
the
or
what
pencil drawing
drawing
your
hedgerow,
discipline,and
necessary
of
have
have
I
cow,
view. Never
of
these
picture with
reversed.
difficult
willow,
in
the
drawing
so
an
sketch
but
painted
receptacle for
composition, each
a
first
in
Nature,
the
accompanying
a
growth
head, you
interest
and
the
peculiar formation
of
begin your
the
new
means
material
in the
see
a
be
by
best then
can
three
is
should
when
the
accumulated
have
will
sketch-book
Your
were
fact
in
jaw, everything
from
horns, the
in
drawing
are
far
so
27
difference
if you
just
the
of
set
is
NATURE.
the
trees, and
shoulder
correct
observe
also
will
species of the
that
see
FROM
DRAWING
PENCIL
competent in
the
expression
expressionof
colour, and
those
the
to
go
of
making
irksome,
but
the
towards
colour, you
will get that
life.
In
of
mess
know
the
your
power
to
allot to
due
subordination
in
how
lines
it, and
trunks
of
the
of
facts
for
design that
the
a
are
is
of
touch
your
the
You
merely
instinct
viously pre-
laboured
a
to
answer
with
had
that
making
your
eye
details
all the
in
drawing
of
trees
their
the
Your
object
not
which
of
is
you
exactly agreeable
which
of peculiarities
the a
in masses
tree.
clouds
the
not
have in
pencil are
Draw
but
their
lines out-
principal
obtained
have
aim
the to
than
too
piled above
and
scene,
the
the
draw
second
The
now
Mark
foliage.
your
not
are
drawing,
will thus
You of
character
picture,in
of
outlines
miss
not
construction, noting
then
shadows,
their shadows. the
the
of
you
grouped
so
They
detailed
a
lines
support
are
decoration), do them.
their
Wherever
(which
make
main
position and
Nature.
Nature
to
subject,the greater
due
in
them
a
easily effected
more
their
pencil drawing.
your
synthesis.
(a change
will
things
your
of
the
and
of
manner
object of
things
and
of
style or
landscape,and
general
a
which
will
of
necessary
branches
the the
broad
not
masses
the
of
pencil
inclination
lifts it above
hand
them
forms
sense
your
is
the
the of
note
to
It
sketch
the
/ee/ the drawing.
instead
details
observe
you
opportunity of making
common.
draw
as
conjunction of fine
appeal
to
colour
your
certain
many
your
you
be
a
So
which
notice
with
spiteof
will
you
observation, and
your
and
confidently.
will
meet
will
you
more
The
the
love it.
work
in the
In
grow.
to
pencil drawing,
your
directlyand
first
will learn
study
escaped
the
it will
for
something
such
form
to
sketching
imitation,to that higher plane
mechanical
the
find
by persistentpractice,that
become
COLOUR.
sensitiveness
probably
taste
OIL
painter.
a
will
you
IN
qualitiesof
two
first
At
as
PAINTING
LANDSCAPE
28
this
is the
is not
of
construction
so
of
transpose certain natural in
position,
paint), but You
composed, its trunk
or
a
to
must
section
PAINTING
LANDSCAPE
30
of
it,
or
small
a
the
observe
know
will
and
all
how
to
applies
to
hedge
appeared
a
where
it
drawn
in
which
goes
a
all
probably you
to
you
may
want
better
pleasant
of
hills
will
and
you
will
this
quality
the
hand
the
to
your
the
it is of
a
will the
also
of
a
be
may
line
your maximum
find
that
your the
of
contour
involuntarily
almost
etcher
the
For
eye.
help
luxury,
is
it
the
convey
feeling;
answering
essential, and
is
and
accuracy
quality
following
page,
will
knowledge
You
may
pencil drawing "
to
Make
greatest possible value
to
painter. Pencil
useful
faced a
find
able
item
you
as
painter
the
effort.
of
your
with
trees
be
will
you
over
roam
how
is
of
amount
surprised
minimum
the
by
meaning
that
so
large
as
drawing
only
landscape
the
for a
be
will
You
plants,
Not
in.
be
each
drawn.
be
colour, which,
the
of
understanding
stronger
of
form
This
the
it must
now
must
mass
afterwards.
them
which
The
same
sketch
and
top
but
;
individual
various
of
by
improve,
pencil
the
the
at
earth
intricate
the
practice
means
soft
you
The
general
your
to
that
so
landscape.
detail.
its
of
themselves
construction,
your
the
subsequently indulge
obtained. will
in
tree
outline,
up
some
its
will
You
leaf.
attach
branches
of
with
COLOUR.
individual
details, i.e. in
fulness
of
excellent
most
the
make
note
a
use
contact
the
to
careful
details
mere
in
came
the
the
other
method
each
which
in
manner
trunk,
the
with
bough,
OIL
IN
to
the
drawing,
problem of
means
to
suggest
of
details
the
which not
give
the
your of
obtaining in
although one
in
you
have
I
as
attempted
trials for
composition,
a
transpositionof studies
broad build
up
of
its
that
the
which
they
are
are
of
is
which
so
in
Nature,
a
suggestive
complete.
have but
enable
will
such
only
not
you
painting, the
your
breadth, and
they
in
forms
materials
masses
literallydrawn, satisfaction
of
show,
to
as
you
multitude way
that
that
they
V.
CHAPTER
COMPOSITION.
the
PERHAPS qualities
painter places
a
makes
he
bad
what
is
think
of
taking
his
limited
with of
The
he
be
may
sister
than
arts
dignity
breadth,
them
to
the
If
he
Nature,
field, wherein
the
former
latter.
the
his
of
outset
other
arts,
Architecture.
fewer
has
has
powers
the
in
and
suggestions but
painter, she
which
arrangement
very
importance
offered
landscape
style,
the
at
photographer
for
for
would
one
fuller
none
between
cry
the
excuse
to
easy
He to
the
suggestions
offered
each,
are
of
sary neces-
all.
of
finds
the
appreciates
understands it in
and
is
in
with
Poetry,
has
Nature
pains
him
its
of
the
even
some
there
Music,
the
to
painter
conjunction
certain in
that
acknowledge
be
faces
composition quite
is ;
painter
there
limitations,
claims
its
recognising
his
of
problem
work;
and
if
responsibilities,and
she
greatest
The
him.
before
of
No
as
its
and
really distinguished.
a
canvas
encounters
far
the
takes
power
is
moment
his
upon
very
always just
Nature
consideration
may
is
The
composition,
there
abstruse
most
time
same
bad
but
wrong,
what
and
material
the
greater in
not
the
at
the
forms
of
recognise
to
easy
obviously
is
what
avoid
is
It
difficulties.
and
of
one
composition.
arrangement
any
composition
a
yet is
painting
landscape
of
and
elementary
most
what he he
that
worth,
assumes
his fine
constitutes cannot
forms
suitable
most
its
thing
rare
be the
in for
appreciation composition.
expected
to
authority 32
venture to
the
Nature,
composition,
great
a
is
the
proof
he
If
cannot
into
transpose
happiest
his
that
that
he
discern difficult
materials
to
CHATEAU
FROM
GAILLARD.
THE
PAINTING
BY
ALFRED
EAST,
A.R.A.
^
-^^
^ ..
""
!"""
"iiMWiW
Wt
liPtilin*!
lillW
""!
a^lM'inTWT
suit
his
may
whole
of
the
and
purposes,
object he
have
the
IN
PAINTING
LANDSCAPE
34
selectingwhat
of
the
In
view.
in
of responsibility
COLOUR.
OIL
requiresfor
he
he
accepts
either
position,for
his
definite
composition
of
art
the
success
failure.
or
Since feels how
important
is surrounded
love
by
Nature
is
few
a
only that
assume
his
find
may
authority to
as
a
them.
themselves,
in
select
authority to painter
a
has
he
man,
one
may
avoid
to
Therefore
obvious.
which,
it
The
he
more
attractive
composition.
but
necessary
the
and
snares,
art,
landscape painter
be, for the
may
details, though to
expression of
the
in
difficult he
more
destruction
not
hints
pitfallsand
unessential
mean
essential
an
many
the
Innumerable may
is
composition
must
undoubted
an
right. is
Composition it is not colour a
convention
a
yet demonstrated
why
give pleasure,and
other
question
for
but
us,
and
therefore, without
we
must
accept
feelingof
the this
the
going
the
also
their
in
consider
to
painting. the
by
pound
obtained, each
artist
has
This
lead
arouse
increased
lead
would one's and
musician
conditions
to
of
pound
a
balance
bulk
interest
;
the
the
but
bulk
instantlystirred,and
the
of
balance
illustration feathers.
for
bulk
the the
which
"
For
such
other
The
as
have
govern
landscape
demonstrated
be
fact
balance
is too
bulk
to
as
We
example, a
his,
theirs.
diminished,
question arises
conditions.
the
the
moment
which
architect
can
of
one
by
the
have
are
gives
means
certain
and
finest
balance
numberless
are
not
pleasure,
or
The
of
sense
special conditions,
or
arm,
pain
is
it is so,
that
them.
governed by
poet and
those
the
;
interestingquality of
steelyard of
the
sphere what
his
find
There
the
origin of
we
balance
know
and
form
give pain, it
We
scientist.
as
of
arrangements
arrangements
the
principles.If
wide
upon
certain
into
facts
satisfaction.
be
may
decorative
of
for
prominent quality is
most
founded
of one's
what
two
of
pounds
obvious the
a
one
interest
difference
to
is is of
COMPOSITION.
material
the
causes
dimension.
of
change
35
steelyard,the
disproportion of weight,
placing of
pivot: if
the
Now
imagine
clump
of
picture definite
be
is
one
of
it is
the
the
blind
such
accent
disturb
not
of art
be
must
composition of the
the
introduce
which
would
shift
so
of
not
the
balance
in
of
light and
or
houses,
such
divide
the
You
Fig. only
are
is
other
not
your
is
in
your
point or pivot
composition, because
your
only one's
of
the have
I
be
can
placed
any
which
will
landscape
to
that
equal
in
the
road.
See
that
equal
equality
of
the to
that
"
if
the and
centre
the
of
balance
masses
quantity, but
more
by the or
the
sky, less
trees
as
of
masses
(See illustrations A
by
figures
equal quantities
dark
covered
the
just.
your
the
as
the
dark, such
to
would
picture,such
of your
covered
if
hand,
introducingfigures, you
of
that
the
formed
other
Beware
area
space
the
introduction
masses
or
sides
On
that in
figure was its two
the
equal parts.
two
found
it seemed
"
position at first,but
the
form
everythingin
always
objects in
make
for
"
introduction
figure
of
advice. practical that
observe is
words,
or
in
the
human
described.
make
to
as
scale
for the
intention
other
See
sky,
(p. 36) there
That
of
the
strong and
a
point
swing.
sake
place
the
the
of
picture in
will
A
etc.,
dark.
water,
as
the
the
be
to
side
of
landscape without
and
already
of
words
few
a
other
where
there
a
place them
course
agreeable,or Now
have
I
sky forms,
trees,
bulk,
object
the
perfectbalance.
a
an
of
size of
the
picture with
a
determines
be
the
i.e.exactlyhalf-way between
"
design
you
the
one,
correct,
was
canvas
pivot
composed
governed by
appropriate to
once
afterwards, for the
figure,and
a
will
of
case
previously arranged composition. I have
Frequently
"
figures in
figure or
a
the
i.e.
there, and
spot;
as
lead
interestingparts
most
the
course,
on
quantitieswill
these
which
pictureupon
in
feathers, large in
recognise at
you
"
of
pound
your
value
of
counterpoint
your
of
just, there
be
pound
your
trees, and
to
that
So
light,
do
not
and
B.)
trees
in
and
not
equality
OIL
IN
PAINTING
LANDSCAPE
36
COLOUR.
This
of form.
will be
better
upside
down.
repetitionsof
FIG.
rounded
the
as
same
such
clouds.
The
the
more
error
Before be
big things
when
have
determine
piece of
in
charcoal
decide
scale, you how
little of
you
can
by
drawings number your
field of
include
within
and
canvas,
done
the
of canvas.
what
this
a
in
your
book,
You is
the
you,
to
of
may
be
sure
themselves. the
first
wish
the great
thing
to
paint.
masses
as
the
a
sider con-
of FIG.
that the
Therefore,
to
arranged
to
you see
on
object
urge to
be
or
in
observer.
brush,
pencil
outlines have
a
your
of
it
as
and
trees
me
vision
number
charcoal
the
or
only
can
the
the practically
the
much
how
of
have
example that
to the casual
right,you
subject you
you
of
with
care
outline
when
found
and
the
roughly
you
are
before
of
scale
chapter, and
material
they
;
repeat forms
to
Nature, let
canvas
less, take
or
the
apparent
your
the
opportunity of fallinginto
an
of
this
danger, great
branches
forms
If
This
inclination
the
is
sky
most
Nature
Note
do.
are
to
in
in
see
to
the
trees.
more
large canvas
a
on
another
your
touch
right.
are
will, more
a
it is
smaller
the
you
little ones
to
of
offer you
of trees
easily,since of
of
contours
branches
speaking
you
form
the
than
marked
the
as
careful, before
your
not
the
of
forms
is, is perhaps less Nature,
what A.
owing
forms
will
you
be
should
carefully avoided
but
faults
Such
frequent, and
sketch
the
by turning
derstood un-
B.
do
is
With
described masses
of
OPULENT
From
In
AUTUMN.
the
the
Painting
possession
by
of
EAST,
ALFRED
Sir
John
Brunncr,
A.R.A.
Bart.
COMPOSITION.
painting the subject;
whether
material
or
before the
express
canvas,
large
depends
of
masses
discern
that
small
the
than
if it
the colour be
to
mind
These
must
sense
to
big
in
the
of
example, a
dignityand
this in the
in
that the the of
number
style
landscape by
arrange
composition
as
Rubens
big
begin
to
consideration.
for
will find
the
that
of
tone
easily understood
that
in close
with
contact
of the
paint
to
the
the be
of
edge
to
is
sky, or
of my
always
gauged by
the
curves.
that
insomuch
serve,
the
picture,and
your
material.
have
may
must
expression of
the
deep
a
contours
composition
purpose the
the
You
landscape.
and
a
value, although
same
lightnessof
or
They
should
also
design. of
curvature
any
edge
of
your
picture will
of
will
you
call
the
it is
your
of
nature
scale
to
are
important
in
essential
to
tops
sky, plays an
of my
noble
out
the
which
it better
canvas
an
the
composition, therefore,
lines should
have
the
of your
darkness
contour
your
the
of
matters
of
canvas,
tones
the
;
contours
these
pointed
by
find
every
by comparison For
tone
example,
the
I
the
of
how
brilliant when
feelingand
that
the
different
express
understood it.
suit
contours
I have seen
be
These
You
instance.
to
through
right angle
things
surrounded
that
in the relation
be
your
of its forms.
in
they
upon
more
might
forms
bear
light
For
were
modified
contours
sky
mind
for
picture.
elect
top off
cut
will
it
may
the
to
poverty
or
that
used.
other
matter.
the
your
are
tone,
light looks
tone
the
of
choose
up
in relation
masses,
part in
to
there
question
your
and
of
the
of
copy
You
you.
clear
may
fineness
made
dark
given
of
out
run
discretion
having
have trees
a
material
the
the
of
make
to
arrange
may
the
;
the
upon
After
The
to
discretion
your
merely
contrary, you
by permittingthem at
to
so
masses
the
on
or,
it be
Nature
emotion
the
paint
to
you,
37
curves
large
ones
in
the
do if
Pitti
be
also not
they
is
immediately
and
canvas,
your
small
line
it will
governed by
convey
be
be
fine.
the You
same
see
Gallery(see illustration
LANDSCAPE
38
This
facing p. 39). frittered away
Corot
!
in
the
the
its charm. the
to
this
In
of
the
Masters.
great
distress
out
work
I
in
not
feeling destroy
application
the
in
introduction
to
out
his
to
form
your
And
the
will
help
to
you
composition. although
Each
their
the
I should
a
Liber
The
modes
qualitieswhich
to
his
there
is
of
of
men
"
presented anything works
the
of
you
to
in
the
like Corot stands
out
would
I
"
Veritatis
Master
you
you, these
;
who, a
you
great
noble will men
great importance of of
looking
at
different, but
expression were underlay
to
of
the
personal way
own
(that
in
not
Liber
"
Why
is what
Rubens.
his
in
understanding his
and
canvases
in
quality
"
the
repetition,
which qualities,
always
study
encourage
these
all your
of
risk
Masters,
Studiorum
great principlesthat like
old
Claude
of
then, if
had
that
of
were,
better
of
the
again,at
the
one
work "
style.
it
compose
you
materials
own
to
absence
study
composition).
I say
if
That
man?"
a
he
when
said,
I
the that
me,
Corot, and
of
Constable. you
to
that
style;
a
thought
Aren't
spiritof
still. Turner's
whatever
forming he
said
once
man
remembered
you
the
to
you
about
and
the
want
point
contrast
in
of
see
landscape painter against
young
yourself?
remember,
I do
better
the
sees
one
spoken
young
A
he
breezy
to
to
are
advise
have
the
warn
remember
you
because
I
Corot
by
this
light would
or
by
tion introducYou
latter
the
in
the
intention.
that
dark
of
more
misty morning
were
you
letter.
me
a
on
morning
you
of
eye and
different is that
How
balance, while
illustration
let
in
I W2int
this
here
was
don't
touch
attractingthe
all
chapter.
imitation
went
one
that
value
it is
style;
expressed,and
intention
the
of
of
sense
whole.
of the
to
sense
no
COLOUR.
incidents, each
one
general principle
But
in
no
delicate
of
but
see
figures adds
former
so
he
we
OIL
IN
conveys
small
several
by
There
of
one
picture
helping the general effect
not
is
PAINTING
Nature,
they
were
their art.
cultivate
possessed, and
the force and if
you
have
personal sufficient
LANDSCAPE.
From
the
Photograph
Painting
by
by
Neurdein,
COROT
in
Pans.
the
Louvre.
THE
From
Photograph
RETURN
the
FROM
Painting
by
by
A
THE
RUBENS,
ndcrson,
FIELDS.
in
Koine.
the
Pitti
Palace.
COMPOSITION.
you,
like
not, do
not
knowledge have
you of
tree,
a
know
not
"
because
make
you
Trees
differ
noble
forms
paint
a
of
and
Let
to
ask
me
and appreciation, cannot
express
repose,
hedgerow
or
a
Having out
which
should
You
the
to
still do
a
dangerous
enough
at
Nature
not
to
in
the
it, or
are
eyes,
the who
; and
thinks a
a
breadth
noble
considerations, the
build
up
3,
let alliteration of form
hands
of
if you of
a
her
pretty
landscape. let
me
aggregate
of
rhythm degenerate
be obvious.
quality in composition the
large
picture.
but be careful lest your
distinctlycharming one
man
are
wide
syntheticoutlook
the
simply
larger qualitiesof composition, minor
rhythm,
alter
you
you
work.
dignity and
than
If
your
cottage all sufficient for
some
assist you
with
will find
material to
you
place.
purpose,
other
so
painting,
are
You
your
ruin
to
why
option.
power
do
another
to
your
the
express
reason
men.
to
the
and
her
more
the
of
you
repetition. Do is
is
look
moss-grown
have
may
not
splendour of
spoken
point
suitable
broad, generous,
a
may
you
to
you
at
are
have
it : either
attempt
as
is to
you
it
remove
vicinityas
you
no
upon
essentials
possibleto
particulartree
they not
is
in
painted, the
are
it is
There
finer, or
same
is because
sketching, it lazy
the
and
"
of the
is
which in
means
ones;
mean
it grows
do
falsities
if the
business
personal character
in
one
any
you
impress
that
details
Your
art.
Nature.
to
its contour
much
as
mean
because
into
truth
of
of
proof
a
would
I
mind,
this fact in
lose the characteristics
should
right, and
are
fine work
sacrifice
the
without
is
and personal peculiarities
big ideas, by big
big thoughts
removal
rearrangement
that
beautifullythe
how
a
The
grief.
If
principlesof composition.
essentials
be
picture cannot
too
trouble, and
you
little
matter
no
wrong,
the
or
materials.
your
to
come
road,
a
necessityfor bearing
the
are
give
many
if the
great work
of
transpose
will
try, for you
of the
enough overlooks
One
you
will
details
smaller
could
Turner,
diversion
the
or
39
ignorant.
Look
to
but your
tion Alliterait is
a
angles,
LANDSCAPE
40
that
do
they
the
in
have
measure
painters,the a
of
You
their
an
and
explained
the
of
Nature.
in
a
the
As
I will of
form
branch
larger
a
of
balance
than
weight
dark
a
does
not
that
which
the
from.
It is
a
of
is
in
feet
complete.
If it has
of
a
will
cannot
given
greater a
an
dark,
or
essential
A
fine
inch
destroy the added a
and
be
drawback.
you
"
larger light superimposed
a
should
be
the
composition
lighter tone,
a
spoil:
in
its size
much
a
A
more
weight
the
has
darks
with
is sufficient to
composition
much
touch, either of light
be
must
avoided.
proportion to
balance
contact
slightestalteration
good
all
composition, and
reallyhelp
in
repetitionof be
its
object:
"
with
material
the
is to
so
came
dealt
composition
your
by
Each
branch
happening
"
as
that
greater effect than
a
leaves,
figure in composition.
of
out
of
be
trees
contour
human
tition repe-
till Turner
will
of
tree,
this, and
the
art
you
upset the
not
your
twenty-four square
parts, and
to
inanimate
any
half-tone.
portion of
what
the
larger light
a
out
did
trees
speak only
light surrounded
light has
on
upon forms
painting
balance
of
would
small a
of
composition
your
A
much.
small
surface
large tree
a
value
in
constant
repetitionof
not
was
saw
quantity and
same
alter the
figure will
small
so
of
only point
the the
Remember
even
method
It
Dutch
the
on
forms
Poussin
and
we
separate chapter, I shall
composition.
than
that
the
moment,
unreality.
matter
of the
only
old
leaf the
you
light.
other
every
Notice
not
the
of
the
of dark
the
so
that
form
time
of
and
things
remember
same
area
paint
Claude
of
air
the
cause.
at
that
see
of
to
pictures;
more
us
may trees
gave
their
interests
but, what forms.
in
forms
better
a
and
large quantity
Ruysdael,
effort
sincere
most
fewer
are
the
at
any
shape of
work
the
sincerityworthy of
of
in
see
may
COLOUR.
There
you
in
the
defined
OIL
right angle,
a
and
something else, a
You
as
paint anything,
you
of
IN
dominant.
too
composition
moment
shape
become
not
in
"telling"
PAINTING
good
to
a
balance
deal
for
design is
in
or
;
canvas
of
its
subtracted of
trouble.
COMPOSITION.
necessitated
and
satisfaction
for the
only
There
making
your
of
painters
are
41
studies, it is worth
many
feelingthat
whose
work
it is well
done.
depends
colour; they ignore the qualityof composition minor
colour
the
course
be
years,
left
a
is
when
must
in
there
will
work
of is
Composition
of
its
beauty
no
of
value
the
some
me,
speak
to
; if there
pictureas
of
it
as
design, then
lost.
sake
the
Believe
of
excellence of
for
goes,
nothing
the
entirely upon
truths.
the
while, if
the
art
will be
one
of the
in art, it makes greatest qualities FIG.
C.
difference
all the
and
work
Fig.
mean
a
to
convey
C
will convey
place other
you
of the
in
but
;
this
addition,
your
way
with
balance
not
is
which
constantly. of
reverse
each
the
side, but H
the
might
be
Then FIG.
D.
have
composition. Examples
call
suffice
may
example above; in
moment
as
line, and
One
the
but
fee/
right.
we
composition ;
balance
clouds, you
of
mean.
must
may
of
trations illus-
few
pleasant un-
you
you
correction
the addition a
so
to what
the
is
to
a
with
effect
forms
of
means
tree
an
see
you
other
introduce
of
them
which
Fig. D,
I
by
fine
a
one
across
produce
foliage, you
of
sense
no
forms
clothe
and
attempt
clearlywhat
more
in the form
masses
trunks
I will
one.
between
centre
of
in the
(see Fig. E), this
canvas.
the
which
as
is the
are
not
at
you
see,
is
objects This,
peated re-
LANDSCAPE
42
PAINTING
IN
OIL
COLOUR.
the distances
important,as A
H V
r
FIG.
and
the
and
G
is
E.
and
B
to
H
to
and
edge
of the
You
may
I
put
and I
put
dark
in
distance
(see Fig. F), and
large the The FIG.
of
sense
the which make
You
this
result
paint
a
left
right or
destroys
distribution.
raise
can
can
lower
or
F.
this
that
or
and
H)
this, he
done
mirror, and
;
if
it
reversed, I satisfied that Some
as
he
might
take
what
that
G
still
holds he
think
has
his most
his
of
says
sign de-
good may
be
it is correct.
of the forms
composition G.
when
see
impartial friend
ture pic-
(see Figs.
it
and
;
feels his
he
as
requires
FIG.
"
equal
painter
side
"
which
picture
your
Can
or
may
the
to
tree
What
show
other
the
experiment, with
the
same.
one
and
be the better ?
would
of
in
other,
trees
the
?
case
sky the
some
the '*
this
the
of
yourself,
in
lightin
This
from
are
to
do
a
bulk
The
F
to
equal.
canvas
say
I to
E
distance
the
equal,
are
from
are
right.
trees
D
to
distances
not
am
C
from
may
of be
triangular(see
"
landscape described
Moonlight
MORNING
From
IN
the
Painting
COTSWOLDS.
THE
by
ALFRED
EAST,
A.R.A.
COMPOSITION.
in the
and Cotsvvolds," frontispiece,
p. 51), circular
Mont
think
not
Remember or
the
the
should
lines
or
no
in
of the
and
outline
should
the
great be
not
broken
secured.
thus
is
wish
you
and
the
hardness
over
all
is
is
something hope
of
quality
the
thus
:
poplars,the Bear In
led
up
until
a
noble
before
lines
your in can
as
be
should and
Nature be
addition
great discretion
You
must
you
think
different
a
well
as
such
errors,
you
think
also
its
of
effect
to
there
position disblack
soft.
latter
linear
detect
design. have
throw
cannot
seeing instantly
can
you
oaks
your
the
H.
One
sky.
without
material
strong, the
pleasant
with
dark
the
by
and
refreshment
to
FIG.
storm,
and
frequentlyby
more
very
your
mind
not
feeling,the be
of
composition
are
a
composition
elms
first
in
your
they
to
that
mean
The
modified
make
cannot
the
where
a
wrong,
I
masses.
that
;
harmony
as
of
rules
frame
should
But
strong effect,such
the
as
the
masses,
sition oppo-
produce
to
of
the
good.
should
sudden
breadth
between
it be
that
half-tones.
by
of
sense
darks
lights,but
the
to
be
in
placed
The
not
needlessly interrupted; of
"
of the
be
mass
(see
convergent
equal
edge
well
as
Lake
42,
Aftermath," facing p. 72),but
be
the
facing '*
composition belongs,if
must
spaces
Meadow,"
Cotswolds," facingp.
"The any
harmony
object
any
and
order
masses
be
swing
tree
what
to
that
between
Berkshire
A
Revard," facing p. 6), or
Lonely Road," facing p. 64, does
"
in the
Morning
"
(see
from
Bourget
one
43
obtained of
an
and
your
perspective.
sympathetic, and have
by
a
a
opposing care.
aerial
and
soft
dark line
or
when
sleepy
light,but
which
should
A
picture of
of
available
the
for method
drastic
do
fail.
But
with
strips of
parts, then last
be
painted its
not
do
brown
picture
will
size
then
the
picture
the
height
"
off the
sky
To
but
of
it is
down in
at
you
improve
increase
better
Such
difficult matter
more
There
so
are
it would
require
describe
them
of
the
that
it
difficult
But
problem
to
the
bearing this most
for the
may
I
one
darks,
lights and be
said
have
to
you
the
at
to
an
top, it
cut
difficulties
many
such
a
step be
it would
that
in
composition, that
at
thing
upon
apart
from
of
the
though interesting, painter.
of
this.
than of
in
require
before
say
space
picture. of
to
low
mountain.
than
brings
more
of
one
resort
as
for
sense
no
may
canvas
a
interestingproblems
influence
is
to
of
have,
invariablymade
many
the
"
far
so
the
to
carefullyconsidered go
repaint it, than
to
relative
be
almost
I would
add
to
You
picture
relining,which
means
should
is
have
By cutting a piece
height
your
would
may
painted for
well
is
reduction
gives
done.
of
alteration
an
You
of
down
result
the
it
cut
proportion
the
a
means
be
to
Cutting
scale.
feel
be
sense
the
it,
to
Alpine subject,too
an
must
a
size.
of
you
composition
your
size.
train, and
is taken.
give
parts
exact
manner,
It is too
convey.
once
addition
an
;
its
a
to
the
necessary. a
and
"
resources
all other
unless
sense
yet something
it,and
tinker with
fault
wish
you
done
mountain, in
common
a
the
the
adding
when
the
the
to
small
too
facing p. 72),
of
or
Cover
it is sometimes in
cited
adopt
get
be
not
increase
example, painted your
be
to
made
good composition
a
compositions, including
till you
should
into
Aftermath,"
impulsively.
stretcher
new
COLOUR.
picture down,
hesitate
not
paper
and
your
made
good
your
this
gain, but
distinct
a
catting should
resource,
of
production
a
be
can
OIL
examples might
you
get
IN
big sky (see"The
a
of
which
measure
country
other
of
hundreds
and
flat
a
inclusion
the
by
a
PAINTING
LANDSCAPE
44
art
disposal
my
another, the of
it may
to
the
sentiment
composition, be
the
most
EVENING
FROM
IN
THE
PAINTING
SPAIN.
BY
ALFRED
EAST,
A.R.A.
CHAPTER
VI.
COLOUR.
the
of
for
employed and words
when
a
with
colour are
of
suggestions red. and
"dark," the
to
would
weak
be
fashion
that
Nature
again of
the
its
"
that
red.
place
if
yet the
brilliant the
land border-
light
"
be
were
"
or
worthless but
so,
you of
fragment
a
It
yet
we
of
be or
call 45
to
which in
lower
may
atmosphere,
were
we
it it
sumptuous,
"
red
be "
it
these
than
tone
in
the
either
mean, case.
with
tions revelaactual
full, rich, poor,
in
distance,
"
compare gave
may
painted
sky
the
see
we
picture
power; ;
yet
on
may
green
qualities
degrees
and
it
painters
all
many
with
dignity of
eminent
find
call
yellow;
comparison.
infinity, etc.,
painted
was
unworthy
of
to
for
up
should
we
So
inclined
of
absolutely
It
tone
tone
except
and
blue.
is
the
most
lies
our
tions defini-
exact
the
these
are,
of
to
as
yellow,
which for
names
sky
a
suggests
of
sense
hue
deep
loose,
are
such
the
from
yellow,
epithets they
say
works
the
In
sky.
no
held
pigment
the
have
frequently
that
a
the
We
artist.
of
tones
mind
call
We
figure being
have
associate
symbol.
chemical
meaning
to
reader's
should
we
light, to
very
ought
tion. defini-
a
definitions
our
general
as
definite
a
and
We the
frame
defined
be
measure
in
accepted
We
will
present
colour.
and
;
hundred
a
of
to
an
colour
the
enough
easily
cannot
exact
doubt
no
refers
writer
there
leave
At
the
of
speak
we
well
quantitatively,
tone.
explain
will
as
the
definite
a
cannot
we
described
and
are,
but
term,
day, perhaps,
Some
compounds
understand
We
Colour?
is
WHAT meaning
pressive ex-
and On
46
LANDSCAPE
side
one
it may
purple slope
PAINTING
coalesce
towards
primary pigments, with
ones,
their
impossible task capacity of after
are,
is the
follow
to
be
material.
We
the
non-appreciation of colour.
For
colour
in
red
purity,and
what
form
so
expressive form, its
meaning
wide
bearing for
a
insist artistic as
emotions
this
character.
the
is in
with
student
tones
the
form,
discord We
of of
its
colour
tones
speak
entirelyrelative
in of
and
such
Our a
of
bad
meaner
a
the
life in
tions. combinawith
sentiment
not
blue
if the
and lose
it may
that
be
picture,as
our
our
to
Nature, should
should
would
ears
its
much
as
from
irritated
as
a
abstruse
is
colour
no
and
purpose
there
form
that
may
too
colour
of
selection
alliance
it is
that
is
There
colour
for
is sufficient
most
modify
or
of
question art, but
discovered
been
complementary.
the
of
force, cruelty,or
of
display;
form, and
nerves
in
of
It
it is
say,
and
recognise the
to
by
in
It
should
selection if
in
to
varieties
made,
be
through
necessary
specialcharacteristic. of
red with
contact
the
thought
there
allied
of
that
say, of
us
unexplored thought
upon
book
let
their
for
the
regal splendour, and
dignity and
serves
which
of either.
of
ideas
the
the
without
enjoyment
associations
up
an
within
or
is shown
infinite
minds calls
of
best
through
field of
medium,
the
be
facts.
But, for all that, it has
on.
shape
or
of
tertiary
names
quality independent
its
our
passion ; purple speaks of
real a
and
not
use
pearl,yet, strange
a
amount
example,
We
the
without
is
the
in
occurs
It would
It
so.
to
?
greys
the
descend
secondary
lovely iridescence
within
are
the
them.
do
a
vast
a
of
subtle
to
of
COLOUR.
indefiniteness
describe
it has
same
lose
There
say
expressed
significantbeauty when
we
mind
form, yet
littlevalue
this
approximations
cannot
of
If
of
and
human
all, but
assistance
shall
OIL
blazing scarlet,or
a
infinite range
the
Colour
with
blue.
what
IN
lose
by
its
series
a
be
be
by
the
music. "
good
"
"
or
conditional.
bad No
"
colour. doubt
These
colour
gud
terms
colour
are
may
COLOUR.
be
good
bad
or
is determined
has
the
had
not
if the
his
and
mention is
back
puling
valid from
sordid
have
had
ever
had.
It
things which
is
the
inner
realities,and
colour. what
see
Nature same
is
of
possibly claim
facultyif
it
if it is absent an
ear
become retention
practise
become
can
for
a
is
colour a
is
great
position amongst inborn,
it cannot music.
natural
music
fine.
allowed
and
by
in
contrast
these
for the
proportion, undone.
superficial ; they
those
who
the
non-essential
things
their
Unfortunately
be It
in
gifts. his
undoubtedly painter; them.
develop created is
atrophied by disuse, of
and
obvious
the
if you
only
see
place and
true
of
do
not
appeal
her
see
So
with
to
the
vision.
appreciation of man
of
never
fault
the
no
come
any
display
characteristic
the
the
see
justificationis
meanness
a
leave
only
to
seem
author
you
as
painters,mistaking
oblivious
distinguished and
for
The it
They
almost
say
people
seize
absurd
that
cannot
own
Some
they
has
expressed by
You
entirely your
;
he
the
or
you
good
as
mean.
Philistine
being
and
is
Nature
would
truly great.
reproduce them,
chances
that
warn
and
work
tion. selec-
own
simple palette.
a
colour. of
artist
equally
been
to
want
of
or
in life and
with
with
common
Nature
I
month
You
that
elements
be
have
thoughts
misuse
mis-spent
a
greatest painters select colour
the
his
quality of sounds,
because
matter,
for
chance.
a
Great
would
It
The
complain
not
great picturespainted with
this
excuse
had
words.
choice. the
for
disposal
must
view, its quality
in hand.
purpose
his
at
of
complained of
nature
the
bad, he
of
opportunity
simple terms, I
is
of
painter'spoint
colour
of
selection
the
the
to suitability
gamut
musician
of the
its
by
whole If
but, from
;
47
It
a
and is
any
it
to
more
exercise that
it, he
without
With
gift.
rare
One
well-known
said
a
cannot
cultivate
can
higher plane ;
a
than fact is
that
necessary
Darwin,
who
lost
all
early days, completely
but
create
can
you
this
faculties for used sense
the to
of
PAINTING
LANDSCAPE
48 after
it
could
He
"
Queen
and
equally
Britannia."
Rule
"
if
necessary,
with
consistent
most
colour
close
local
conditions, yet
You
have
yellow
You
has
he
through
in
are
beyond
message hand
the
of
of
vital
and
you
will
seek
a
and
that
in
Nature, conclude
You
artistic
paints
the
blue
that
blue, that
or
of
the
;
but
different
landscapes
detect
the
of
ticular par-
instantlyrecognise his
they
green
representation arrived
are
the
; not
at
and
coarse
leaves
and
green,
hand
the
crowd
proportions
cannot
temperament
impression
is this
you
While
:
that
painted
to
add
the
It
are
is
profound a
of
colourist
subjectwill
something
to
not
was
be wasted
been
particularcolour
in
said
Nature,
with you
;
time
your
this
importance,
and
have
to
thought
gift.
If you
more
necessary
have to
persistentstudy.
truth, that if you will
which
naturally, by thought,
it is all the
by painstaking and
said, and
of
first
difficulties you the
tion selec-
seriously,of
the
of
the
effect under
think
nature,
fineness
the
the
all the
by
appreciationof colour,
improvement
and
question
a
in
exercisingcare
think,
must
most
If you
poor
It has
you
of colour.
probably the devote
But
paint it, you
encounter.
but
to
question
you
greys.
give
modifications.
what
delicate
subject,its composition, and
your
will
you
certain
be
boor.
a
lesson
The
colour
to
will
will
many
these
You
tints
that
subtle
for
say
amid
green.
and
refined
a
truth
of
is
parison com-
that
the
by
seen
it
and
craftsman
vulgar
his
beautiful.
vulgar ignorance no
his
these
seen
and
just
cannot
the and
beauty
composed
blue
or
pigment that
the
admired
Cazin.
by
loses
never
the
keen,
sense
select those
to
The that
Save
observation
disciplinedeye perceives the qualifyingeffect
the
is
the
learning
rough, primitive colours
the
you
pursuits.
God
"
perceive,therefore,
keep
purpose.
scientific
between
faculty by
our
COLOUR.
to
You
to
Nature,
in
colours
wish
we
that
constantly sharpen of
difference
the
tell
not
devoted
life
of
period
long
a
OIL
IN
find
it.
If
look you
for any
search
for
COLOUR.
will discover
purple, you will be
psychology
them
know
man's
It is
the
his
by
may
be
possibleyou
may
The
at
first.
but
will be
You
until
persevere when
Then, with
little of the
a
The
the
forbidden
seek
to
is
and
that
It
there
is true
we
scheme. would
ask
trees, and
you a
they perhaps Now,
man.
form
of
feel
they I
the were
who
artists
are
But
do
grey insert
sky a
to
succeed
of
had
you
not
received
trees
that
they
were
I
think
the
in
in black colour
the
and
a
a
and
white, chromatic mono-
question or
and ivory-black,
and
You
you
I
brown
an
animal
suggestion through
trees, do not.
drive
black
by
is
figure of
the
of
monochrome. in
tone
That
of
some
expense
They paint black
flake-white
spot of colour
green?
?
of
polychromatic
painting in
"
other
difificulties to
any
suggest
consider.
made
secure
full if at
even
the
to
expression
to
a
qualitiesof
they
seriouslyto
task
allow
claim
tendency.
indulge yourself
the
suggest colour
even
may
palette,
your
abnormal
rather
or
destitute
obtain
to
easy
on
painful
luxury.
a
by Turner, the
exclude
almost
may
using
not
quick
yourself to
contradistinction
when
do
this
laborious
a
tone
refuge of
obviously
white.
is
It
done
been
as
colour,
qualities.But
artistic
other you
has
It
palette.
colour
of
form.
higher qualitiesof
the
find it
it, you
painting,in
of
expression
allied with
colour
of
master
force
to
and difficult,
conquered
have
so
cTitre
raison
arts, is
It
are
you
It will be
trying incessantlyto you
peculiarity.
resolutelyto
box, and
your
it.
paint the subjectwithout
is
only remedy
from
colour, yet
colour-sick,i.e. lose your
become
in
We
fugue.
the
in
running
were,
certain
a
completely ignorant of
colour.
offending pigment
it
musical
for predilection
colours
certain
as
a
blue
interestingfact
of
specificstrain, in
blue, the
want
and
curious
particularnotes
work
appreciationof
if you
preponderance
a
"
artist himself
the
the
landscapes all, as
through a
for
and
This
itself.
accounts
artists'
some
show
to
sure
purple;
49
think
feel
they
you are
or
the
would green
LANDSCAPE
50
because had
know
you
the
the
it,
accept a
costumes,
seas,
become
of
pleasure life
faculty
beauty have
Life
of
its
colour,
but of
which
is
is
value
the
joys
cultivate
to
reveal
may of
hurry
to
becomes
of
one
we
their
not
it
that
duty
our
that
in
many,
it
use
colour It
therefore,
us, to
so
its
would "
charms.
understand
a
skies,
flowers,
monochrome
behoves
appreciation
and
dull
by
what
colourless,
colour
to
It
greatest
to
sensation
your
so
minus
reduced indeed.
the
art
you
its
life,
may
missed.
with
greatest fine
colour.
beauty.
possess
colour,
and
the
most
masters
mud,
so
"
others,
to
The
in
of
one
"
this
for
;
all
of
ceived per-
and
offered,
"
pageants,
difficulties
the
rescue
arrived
have
only
is
mass
have
not
would
the
the
If
trees.
would
but
to
and
;
are
you
Were
be
they
COLOUR,
suggestion
coming
dreariness
a
shirk
a
would
OIL
trees
The
deduction.
it
IN
colour,
any
intellect
of
process
monotony
of
blackness.
your
form
shape of
conception their
their
by
assumed
not
at
PAINTING
if
colour
landscape
Forms
that
he
given
were
is
should
be It
would colour
to
alliance
the
harmonious be
forms. he
by
should turn
appropriate
declared
marked
that
Colour
in
is
and
enhanced ennobled is
by
said
paint
the
put
round
that
head it.
of
will
just
and
fine
of
always
glorified
one
by
enshrined
being
a
form
of Madonna
the
old with
rrr""
A
FROM
MEADOW.
BERKSHIRE
THE
PAINTING
BY
ALFRED
EAST,
A.R.A.
CHAPTER
VII.
TREES.
TREES they the
from
They
could
sing
we
tree, in with see
or
the
the
the
lip
and
favourites noblest
of and
grace, and
does, here
how
beauty. difficult, how
knowing caressing
standing
out
is
so
well,
enfolding
against
the
them
feels
the
sky
homes on
51
some
the
;
traveller of
of
on
Wordsworth, have
their
poplar their
of
to
loving
them
upland,
the
dignity, them,
paint
mankind,
wide
palms,
beauty
wonderful
how
rowan
associated
oasis
black
however,
songs
the
writers
writing
finds
one
and
verdant
the
called
business, one
the
King,
many
does
joy
the
our
intimately
These
continue
our
of
Shakespeare,
them.
wayfarer From
How
their
!
he
the
ash,
sand,
in
ocean
of
subtle
them and
the
could
It
hot
of
when
had,
events.
what
have
They
great
are
only
generation
love. and
land, they
the
after
king
the
are
They
are
coronation
oak,
With
speak
One
trees.
the
rising
of
others
the
They grave.
They
quality.
man.
them
Balzac
as
of to
desert
the
to
of
the
meadow,
trees?
Generation
rain,
every
of
horizon
hundred
a
in
love
story
the
to
are
history.
same
From
trees?
see
the
of
cradle
monumental
dreary
sailor
the
mementoes
as
this
requirements
across
not
Arimathea
of
language,
every
the
of
does
stories.
and
sun
planted
fulfilled
flowers
of
the
to
Joseph
have
they
old-time
of
the are
of
landing
from
what
incidents
listened
sheltered
Who
us
and
events
have
alike.
it.
with
living recipients they
landscape
decorate
associated mark
the
to
are
as
they or
one
are,
there
strong,
LANDSCAPE
52
PAINTING
simple, dignified,and they deserve,
and
into
their
moods,
from
them
their
or
in
of
the
of
kindliness, he
I
should
the
described
of
shape
their
branches,
I must
painted.
The
is
of
one
You
have
shape
colour
and
character.
of
the
your
something
like
the
next
crown,
sixpence,and each which
After
which
to
speak
a
be
of
how
of
picture as you
it
over
like
the
first
threepenny-piece.That to
a
step
paint
your
nearer
tree
the in
them
the
smaller
florin,the
a
the
should
be
think,
I
is
how
with "
like you
relation
so
to
a
shilling,a
paint of
"
on,
like
broad a
in
with
and
masses
the
lay
sub-masses
realisation exact
in
whole
painting next
their
consider
to
the
simply, as
the
;
quantity,the
the
have
blocked
have
"
and
supports
they
to
next
coins
the
art.
then
of
you
conditions
against the sky,
picture; pile
that
contours,
trunk
painting,paint
a
to
their branches
under the
trees
now
you
in
seen
will learn
the
draw
next
at
painting being must
in
;
great
attempted
different
under
shadows
your
trees
your
The
have
you
the
may,
of
rest
the
landscape,broadly and
your
be, you
must
of
their
art.
means
should
problems
already designed
and
this
painting of
difficult
most
for
the
greater knowledge for painting
you
attempt
place in
pencil drawing
growth,
manner
now
space,
rest
how
successful
the
their
obtain
These
them
have
torn
growth,
new
some
;
position in
branches, and
construction, the
trees
All
By
has
statelydignity.
on
enter
can
first
loves
another.
their
of
the
to
He
of
respect
adornment.
summer
their
of trees.
we
winter
rude
entitled
chapter
environment, and
Having
their
the
that
the
spring gives them
love
some
in
peculiar characteristics
them.
this
with
well
the
of their are
place and
all kinds
of soil and
the
for
expressed
suggested
draw
when
COLOUR.
them
so
landscape painter.
essential
have
it be
Nature
quality, and
realise the
them
respects them
landscapistshave one
know
splendour
the
OIL
treat
us
when
or foliage,
nobilityof
consideration
them
to
whether
the sumptuous
peers
Let
great.
learn
IN
a
tree,
your
aim,
the
land-
MORNING
From
.MONTREUIL.
AT
the
Painting
by
ALFRED
EAST,
A.R.A.
.It'
^i;^" -'
''
in
scape of the
Trees
They
much
vitalityso the
brings In
they
most
strongly felt.
trees
do
they
give
not
marked
are
building, and hear
we
and
the
according
the
against
oak
An
shining.
birch
object
to
Again,
the
one
different
a
a
speed
harder
they not
hard
appear the
at
quality.
say.
For
example,
touch
your
window
shape side
and
of
The
street
If the
so
but
will
look in
and
you
at
the can
the
a
look
;
you
plane-treeleaves see
the
the
also
lightis different sunshine.
the
sky gives
and
has
so
in
quiver to
recognisethe home
and
glare of
as
course,
very
suggest
the that
of the leaves
the movement
if you
only
Of
instance, trees
at
tree, and
the
truth
plane-tree leaves
London
your look
the
at
than
which
painted
eye follows
truth
slowly
poplars,
Nature live
against
moves
solid
they
which
full
the
leaves
elm
be
must
leaf,you
colour ; but
the
the
against the sky,
individual
in
the
that
For
is
of
a
in
species of trees,
upon
are
livingthing,
realism.
of
setting sun
black
the
greater
those
to
of
impression. air, and
action
edges
a
know
their
against
them
see
effect.
of
bathed
is
of movement
of
characteristic
the
we
a
the
to
different
which
than
of
sense
the is
which
edges
and
shape
tree
and
is
conditions
against
if
form
higher
a
according
edge
breath
east
f/iaf,
express
lightappear
the
to express
as
marked
are
flat
painted as
their
photograph,
a
leaves
their
different
the
to
their
time
same
of
whisper
will vary
edges
rest
modelling.
precisionagainst the light,like
the
at
at
of
leaves
here
be
realise the
they
feelingthat
hard
reveal, and
can
camera
the
you
To
look
we
with
breathe.
the
to
for
painted so
point
moving
and
word not
be
the
part do
seen,
must
must
to
me
their
are
If
yet
the
therefore
no
where
as
Here
sky.
relation
is another
livingobjectsand
against the sky.
come
COLOUR.
in exact
tree
a
objects,and
are
OIL
is essential.
vitality.That
their
IN
canvas
your
lighting of
rounded
are
on
This
proper
tones.
and
Nature,
picture.
The
a
PAINTING
LANDSCAPE
54
of
what
which can
on
almost
mark the
I
their
opposite
aggregate of
their
'
"^^^lib''^
^
'^^^^'^'OB^a^:"^.*'.
"""'Si."^-'^^^^
^^
leaves.
You
kind
of
leaves
that
fact, you
the
near
in
the
offer
then
which
by
phases, this
each
you
think
the
leaves
its
of
silhouette, the
could
remember
this
great
of
details
as
the
round
For
edge
where
paint
edge
reflection, and
positions of which
the is
the
of
the be
also
such
a
abhorrent
are
will
leaves, you
desirable
to
another
us,
showing
movements
in
and
your
combines
leaf
obtain
we
at
silhouette,
a
the
and
the The
quality.
for
us,
of
up
turning
is
the
where
made
which
of
leaves
tree
movement
tree
a
;
conclusion, if
intermediate
edge
life interests
life,and
things
the
of
are
all
one
actual
paint
cannot
the
the
all
These
that
are
instance, while
angle
an
silhouette
must
They
then
the
and angle of reflection,
edge you
edge
sky,
and
the
to
the
the
sky,
the
showing
mind
may
seen,
revealed.
are
come
movements.
at
its
Dead
will
only
It
the
reflects
is
edge
in
poplar.
which
surface, and
bear
we
time.
be
means
ourselves. of
of
movement,
movement
You
reflective surface
that
these
if you
intermediate
of
realised ?
black
a
colour
less, you
Now
on.
picture,but
If
against
are
of
going
the
on
thin
the
and
moment,
a
line
are
What
cannot.
aggregate
surface
reflective
form
or
may
thin
the
in
leaf
a
a
us,
leaf.
more
for
the
of
movement
from
one
neighbour
their
its
intervals
different
action
actual
aggregate
an
So
life.
beauty
affording us
moving
are
so
were
than
much
as
again the
its
is but
ones
real
the
turns
back
it turns
is
in
us
it
as
distant
more
watch
us
the
of
knowledge
your
you
same
themselves.
details
Let first
if
from
the
of
composed
but
paint them,
to
is
and
you,
COLOUR.
OIL
aggregate
near
are
wish
there
truth, that
the
that
that
them
paint
not
know
ones,
IN
PAINTING
LANDSCAPE
56
other
sense
act
of of
living beings
are
put them
we
out
sight. I
hard
I, but
remember
against I
do
an
eminent
the
sky
not
/eel
as
painter saying an
it so."
edged
mass."
"
I
to
me,
I
answered,
see
foliage "So
do
^
"
X
^
'^1^
LANDSCAPE
58 You of
is
Nature
needed.
deceived
things
created
does
and If
Nature
others
that
Look
is
at
their
give
to
his
up
for
his
faith in him.
different
Nature
painter cannot
give
missed, why
at
to
we
effect lies in
follow, but
action
the
fact,but all,the have
of
sense
does
have
imitation feels in
he There
not
said, is
of colour
a
will
have
the
tree
if it is smeared
paint your
sky
cobalt, rose
you
This
is
no
madder
soft and
painted the
The
the tone
hard
edge of
the
correct
exact
that.
a
of
of
moment
For
camera.
seldom
gives
of
In
accents.
tree
tree,
a
with
and
sky, a sky.
desire.
little
first tone
a
little Never
When
may
yellow
be
I
as
your
tree
the
the
of
is, after
speed, which edge
an
likelyto
photograph
the
half-tone
This
white, with
the
action
you
fact
value
the
at
than
shape
be
would
effects
of your
little darker
a
the
and
real
by
of
sense
recorded.
of
and
simply
the
one
they suggested
other
violent
in
of
any
instantaneous
The of
or
which
and
revealed
It is
over
can
is
race-horse
between
how
copying of things
be
to
succession
half way
lighterthan
suggestion
to
convey
actual
its the
a
the
Turner,
or
movement,
observation.
movement.
principalfact
painting you
mind
a
the
cannot
all ?
at
see
of
is absurd.
instance, the positionof you
he
something
us
not
authority over slavery of
paint
of
sense
imitate
moment
one
to
or
this
ways
were
instantaneous
arrested
he
imitation
the
menial,
a
use,
The
picture by Corot, Constable,
a
absolutelylost
precede
what
paint
in
is
personality,he intended
no
have
art, and
not
reallygreat painters of landscape, and
the
of
is
willing
directions
and
down
not
probably pleased himself, but
has
own
need
required, no
is
sit
to
imitation
him.
place for
of
the
I
simply
were
there
is terrible.
in
is
which
things
landscape painting, then
Imitation his
if he
the
he
so,
loses
one
hope,
any
is
think
if you
explanation
no
others.
and
creator;
of
painter
if he
;
end
that
it that
upon
line,for
The
sees
has of
the
another
write
he
depend
may
COLOUR.
OIL
IN
PAINTING
you made
ochre
to
6o
LANDSCAPE
qualify it. Leighton tone
the
is
seen
is
be
seen
edge.
on
than
position
the
leaf
with
the
Now
The
silhouette
is the
suggestion
the
of
angle
after
all
for
yourselves, I simply put
you
Note
painted
the
Turner
by reducing the intensityof
how
Corot and
possible means,
Every painter has Each
view.
seeking
let and
trunks
the next
help
See
through a
shadow.
The
the
in
do
the
appearance, characteristic
seen
your between
of the
trees.
his
the
simplest
his
colour.
same
end
in
own
way
in
of
See hard
the
that
your
by contrast, leaves.
Now
upset
the
to
forms
human
is
the
the darkest
trunk, in the a
for the
figure
proximityto
and
branch
composition,
your
of
centre
counterpoint
in
your
justly placed, will completely upset
not
and
and
movement
sky beyond,
It is the
most
if it is necessary
growth
composition. the
the
a
composition.
spoil
the
in
tree, for it is generallyin
balance
the
all have
problem "
landscape
a
picture, which, your
bones
not
if
whole
by
trees
interstices,i.e. the light shining through
right-angleof
tree, with
of
his
things. Strong
suggest
they
accent
lightseen
your
to
that
"
solid
are
of difficulty
greatest
Nature
study
must
may
track.
of
edges
difficult
of the
speak
me
trees.
the
on
method, but the
reflection,
truth.
will
the
You
the seen
greatest quantity. This
explanation.
own
solve
branches
they, too, comes
his
must
for the
Now
clumsy
a
of
greater proportion are
be
but
fullest
highest light (Constable
or
the
express
is the
the
this
will
caused
accents
therefore
tone
Lord
this sub-
which
upon
sub-tone
silhouette
in
which
tone
those
for
the
far the
By
the
"
described.
painted
white) and
COLOUR.
of Nature.
waiting
touch; and
may
pure
sub-tone
have
I
OIL
pearly grey
tree
your
IN
a
the
was
darkest
being
that
of
of
movements
almost
many,
be
say
edge
and
reflection
in
to
varied
definite
used
should
used
the
at
by
It
PAINTING
of
your
You
interstices
to
tree, be
know of the
include
careful
that tree
assertive
the
is the
it to
that
colour same
thing
in
the its
support
it does
not
of
sky
colour
the as
the
wide
it
paint the
so,
tone,
or
breadth in
ON
you
will
Nature
the
sky
you
the
body
of
eye
WOLD.
spoil one
(SOFT
GROUND
is not
always
truth
sense
that
it is
sky, though,
as
the
You
the
lower
must
work
and
but
Nature;
by unduly the
destroy
so
ETCHING.)
This
between
of
particular spot,
to
effect.
seen
''shout."
enseinble
the
your
as
it will
it is in
So
picture.
your
immediately
THE
of
in
and
attracting the
STOW
have
you
expanse
COLOUR.
OIL
IN
PAINTING
LANDSCAPE
62
is
another You
in Art.
open
spaces
actuallyof I say,
it is
example
the
must
of your same
reduce
as
truth
the the
branches
colour
actuallysome
that
the
degrees
tone to
of
give
general lower.
63
TREES.
THE
ON
to
OUSE.
One
word
suit
your
and
by
the
so
leaves You
study that
the
character
the
doing
you
advantage
described
in
of
painting
another
chapter)
sub-tone, covering part and that
advance
feelingof
your
the
is
sky that
leaving part, movement
of
against the sky.
must, and
great
landscape (as
paint into
can
you
The
more.
as
I
have
said
this
observation,how greatest realism of the
before, find
is
the
thing painted.
is
to
be
out
yourself,by
careful
done, bearing in mind
expression
of
the
vitalityand
VIII.
CHAPTER
SKIES.
IF
make
you
the
practice
a
regularity
end
of
colour
pastel,but
have
you
most
lost
time
in
at
the
practice
must
reserve
for
half-hour the
it
your
sky,
part
which
your
and is
its
If
and
tone
have
one
miles
above their
paint
you
of
you,
high
case
and
clear its
the
blue warmth
cirrus, where
as
a
studies, of
what
Do
not
direction
sky, or
the
you
You
may
note
64
how
in
the
of
draw
is
will
likely
forget and may
writing
istics characterwill
colour,
you
to
make Or
happen
to
date
are
more
your of
a
you
cloudlets
still
be that
find
strength
detached
they
will
you you
notes
coldness.
interesting individually, and
aggregate.
few
bit
the
the
time, paint that
be, of
may
with
sure
limited
the
you
devote
purpose, Be
to
you
energy
if you
day.
time every
want
the
of
this
take
use
conditions.
gradation,
thin
the
as
They,
hour, a
in
it
knowledge
your
the
note
the
of
limited
not
Therefore, to
though
changing
do
much
water-
can,
the
are
I
too
can
their
atmospheric
and
wind.
widen
will
certain
sketches
from
Apart
practice
You
of
you
for
work.
finish
if you
clouds
take
time
caught.
not
the
for
is
purpose
means
breakfast
panel,
your
have
useful.
under
in
or
robs
before
interesting.
paper
palette
to
or
cannot
you
all
sufficient,
convenient if
by
ordinary
your
most
you most
fag,
immediately
find
of
your
is
a
oil
the
at
its variations.
of
this
for
find
will
you
with
morning
every
something
medium
disposal,
your
bath,
know
in
sky
a
your
you
them
setting
make
the
do
Half-an-hour
moment.
on
that
convenient
the
the
painting
take
you
months
six
Perhaps or
that
of
the
study may float
interesting lit, and
how
THE
FROM
LONELY
THE
ROAD.
PAINTING
BY
ALFRED
EAST,
A.R.A,
SKIES.
far
the
of
their
light impinges
watch
may under how
influence
the
cloud
one
intervened its
cirrus.
You
passing
under
between
eclipse, you of
contour
You as
find
defined
against
their rounded hot
to
the
of
blue
the
by
observe
and
soft
the
on
the
blue, made
the
(say and
in one
is
the
K
belt of
gold, from
from
form
when
pass
sun
watch
a
the
days
are
a
the
sky,
is
sun,
difficult
so
;
along
their on
they white
with
of
isolation.
celestial the
you
glimpse
a
its
by
on
or,
masses
get
intense
gloom
to
profitablydevote
seen,
other, how
you
purple
to
and
than
line
his
path
of
the
effulgent
they lie,graduallychanging
strata
gold
such
edges
spectacleof
great
a
more
long
behind,
absorbing thus
September may
the
highest
from
the
the
lightsthem
upwards It
behind
interstices
their
the
the
these
low
distance,where
slant
just
cumuli,
their
side
across
themselves
extreme
hills.
sail
shelter
to
has
is felt rather
evening, they
the
grey
of
itself from
movement,
they
from
ance appear-
majesticallyacross
between
distances
times
of
noon,
to
grows
Above
see
modelling by
ineffable blue which
that
great cloud
one
many
till,in
glory.
its
opposite
nobly they
Through
grey.
day
mottled
tops outvie
line which
a
shadow
How
perspectiveof
the
will
you
it clears
and
and
form
slowlyapproach, till at length they
As
altitude
which
masses
till their
their
note
forms.
You
high slowly
up,
day, hang tranquillyin
paint.
see
the
with
and
up
will
you
giving them,
revelation
rain, moving
sky, towering
mountains,
the
another as
morning
one
after
see
of
;
lower
a
You
interestingphenomenon and
sun
the
note
the
shadow
the
at
with
effect
otherwise.
or
air, and
of
current
the
shadow.
may
we
the
its
moving
see
the
it and
will
cumulus
is in contrast will
influences
or
opacity
different
a
its form
advantageous of
a
of
edges,
their
by
wandering pieceof
a
the
their
upon
shown
density, as
65
whole
as
rests
sky
upon
from
short
day
the
the
dawn
enough to
sun's
the
purple
to to
rays
sunset
do
study
so), when
LANDSCAPE
66
the
is
sky
given
same
and
they
but
illustrate
the
the
sketch
each
short.
will
You
which,
Let
place
with
canvas
should
to
of
with
w^ork
the
sunset,
place common-
stated
exactly marks,
as
you
and
after
paint. it will will
You mix now
already spoken depend
sympathy
with
and
of
where, else-
the
sky
that
have
the
firm
of
as
all
at
with
white
have and
of
a
yellow
done
before, taking
you
have
done
with
the
speak of
of
clouds
wet
this you
that your
and
a
in
Nature,
colour
little
very
from
; do
touch
not
should
dry, you brush
ochre
forms
treatment.
which
extends
is
to
may
the
at
blue
and
the blue
your
it
brush
into
the
little stronger,
a
the
to
paint
you
cross
will be
their
your
agreeable surface
paint
plain
justice in
prepare
your
care
blue
paint which
painting
it
your
paint
very
have
will discover
do
In
sky.
a
flat surface
times
sky
your
beautiful.
work
your
not
lights,
yellow ochre,
dead
a
preliminary coat
will
of
touches, using
stronger
painting
reflected
attempt, with
had
you
painting
just said,
be
necessity
wonder
about
Beware
you
of
must
unpleasant projections left by
Then
upon.
I
crisp
in
as
previous painting, and
course,
have
interestingand
making
zenith.
After
be
white, tempered
firmer
the
oft' any
scrape
I
a
relation
the
up
hints
as
before
much,
confident.
few
a
but
touch
the
it too
brush
since
the
represent to
of
I
learn
to
build
fail to
cannot
must,
you
painted
horizon
wet
made
reflections,and
shadows,
see
you
coat
a
be
medium,
be
give
painting ;
the
of
dawn
have
I
all
they
effect, as
an
deal
great
carefullyobserved,
me
first
one
be
sitting,which
one
a
will
painted well,
if
the
at
find
anticipated. You
and,
sketches
that
see
importance
enormous
the
In
may
of
selection
COLOUR.
landscape.
Do
all
OIL
aspects, from
what
only
not
will
you
different
in
the
subject by
to
90,
page
scene,
but
IN
particularly interesting.
facing
you
the
PAINTING
ground.
sky,
since
The
blue
that
I
have
must,
which
upon
the
your
landscape ; but, generally speaking, your
is
of in
sky
68
diluted
much
If
first four.
the
and
yellow
it too
green
white find
touch
another
add
by
another
the
side
of
to
will
see
according the
of
the
to
course,
of
blue
is most
the
see
horizon
place
and
red
and
much,
its
a
blue
the
the
in
with
one
to
At
careful, for
be
must
is too
paint
blue.
Venetian
or
You
colour, paint
and
;
any
different
step back
be
should
umber
raw
then
then
scarcely
or
effect.
touch
merest
of
blue,
no
slightesttouch
green
of
more
If you
with
yellow side, another
side ;
the
little
a
Then
;
of
composed
umber.
raw
difference
former
the
to
of
white.
and
the
touch
a
red,
Venetian
or
blue, add
a
touch
slightest possible
general effect,which, you
intense
blue
more
paint
mere
a
distinctlyred side, another side, and
Now
it too
and
ochre
the
of
quantities
find
you
madder
rose
cobalt
yellow ochre,
White,
"
white.
with
COLOUR.
OIL
following:
ultramarine, viridian,and
French
very
the
of
paletteis composed or
IN
PAINTING
LANDSCAPE
the
use
yellow ochre, will
you
find
extraordinarily
deceptive. Your
extremely
independent difference a
of
colour, which
should
be
placed
prismatic arrangement, will
tones
will
you
difficult
too
of
upon
very
close
in
it is
to
accomplish,
You
perspective;
get it but
have
now
of to
is
will,
light or
no
too
will have
colour
giving
it
tone,
of
one
doubt, dark
at
the
to
the that
so
is
a
you
really
the
most
with
meet
first,and
failure, try again, for
air, heated
the
flat
a
mind
you
moving join
too
inspection.
complementary,
This
you
never
properlyaccomplished
great distance, and You
may
and
of
still
vibration, because
feeling of
colours.
but
contrary way
a
instead
method,
a
separated
many
things
near
earth.
white,
slightlycontrasting or
very
failures.
when of
be
this
small,
slightest possible
with
horizon, in
the
give
the
diluted
detected
at
with
painted
with
discover, although looking like
composed
many
and
of colour, will
rhythm
much
be
can
edge,
to
very
be
should
sky
touches, edge
difference
These
distant
of
given by the
the
the
impression
surface
horizon
of
with
the the
IDYLL
AN
From
/;;
the
the
COMO.
OF
Painting
posscs^iun
by
o/
ALFRED
/;'.
EAST,
IJ.
Miiryiitt^e,
A.R.A.
lisq.
SKIES.
touches The
the
of
and
less
effect of
blue
tone, until you
have
as
much
less
the
blue
take
the
of of
the
would
the
limited
the
that
actual I
spoke
difference do.
of
the
of
the
of
paint
wet,
the
the
patch,
nothing blue.
Nature
was
transition
greater fact
a
in
it
change
in
so
cannot
top of
the
the
over
sky
your
for
;
more
if you
taken
in
canvas,
your
small
very
is
landscape) to
be
obtain
you
of
and
of patching difficulty
upon
over
No
in
quicker
drying
instance, when
and
feeling which all
the
and
the can
partakes
have
you
the you
in
that
that
sense
importance than
more
necessityof painting a sky
colour
For
you
work
is
that
of
you
say,
it should
as
or
truth.
because
so
the
is
Nature
gradation
By
infinitywhich
the
that
more
gradation
it
of
is the
where
to
(where
distance
blue
more
but
your
is
That
of
area
now
shades,
that
distance
But
the
carefullylook
see
Nature.
horizon
the
distance.
probably
extreme
in
space
are
canvas,
Now
colour.
the
following
blue, which
touches
warm
the
zenith.
relative
find
of
colour
between
picture
from
suddenly
more
in
up.
colour,
the
join
top of your
the
will
than
of
slightly different
of
plain
You
abrupt
more
changes
of
of
whole.
a
Your
reach
large passages
sky
you
with
still
by side, increasingthe
side
tints, until you
sky.
higher
canvas
your
slightalteration
necessary
the
on
carefullydone,
very
colours
warmer
deepened
same
to
the
the
less of the
general
be
must
placing and
touch
already placed
have
you
gradation
method
or
blue
of
69
its
again. miserable matter
get away
imminent
of
But
all
your
of
danger
avoid
landscape painting beautiful
from
the
and fact
that
as
losing
the to
colour
it is
paint
reveal
aerial do
the
There
is
piece of
flat
sky.
mere
and
it when to
flat a
dry,
sufficient
having
a
thing
match
the
just
The
dry.
is
sky
which
it is, is
things
it is
I did
troublesome
most
predominant quality,and
in how
a
colours
same
drying, slight as is
it
effort.
one
after
blue
painting of
the
exactly the
there is
makes
at
may
and
be, if
nothing
paint, if
but
in
of
this
and
show
There have
other
the
get
exact
lower
degrees
of
colour
alter
the
plan
will
your
trees.
well
as
which
is
to
paint
That
is
will, of
the first
your
character
the
the
edge
then
suit
and
colour when
you
its
sky,
I
but
I
have
when
you
very
some
sky
your
and
sympathy
with
And
as
in
for
sky
your
stage
afraid
the
into
your
that
be
first
sky,
When
Don't
suit
to
your
at
best
your
sky
your
laying
cannot
you
sky,
your
painting
the
you
composition
painting.
attention.
that be
that
of
"
pitch
"
must
ground
final
and
it
in
be
sky.
tonal
question
the
preparatory
will
the
which
experience how
the
to
further
to
careful
You
painting. of
the
your
foliage into
stage, and
the It
receive
that
deny that, from
also
trees
receive
to
than
sky
reason
preparatory
a
distance.
to
must
advise
I
paint
to
and
forms
partly done,
course,
rubbing
in
is
the
infinity and
landscape,
stands
It
your
why
afterwards
landscape
a
colour, of your
of
treatment,
the
of
out
sunlit
grass
the
of
attention
quite
Nature,
as
Cox,
obtained.
Nature.
and
impression
Turner,
their mode
know
I
draw
is of
composition be
which
of
moment
one
of
foliage
ample opportunity of getting painting
are
greatest
care
the be
must
sky
at
exercised
matter.
is
suitable
useless for
any
to
lay
down
it
Claude,
or
the
sky,
merely suggestive
those
are
blue
a
for
be to
it
trees
painting, simply
later
by
with
your
forms,
the
manner
tone
harmonise
must
the
not
than
often
too
are
the
Poussin,
give
to
qualities of
would
Since
of
skies
different
qualitiesmay
sky.
infinityof
others,
painting
conclusion, I wish
your
can
of
means
the
essential In
and
these
I
the
you
the
COLOUR.
OIL
though differingin
common,
described
these
in
How
paint.
described,
have
of
in
are
is
Stanfield
Constable, which,
all
to
quality. They
aerial
pattern of
a
IN
suggest
little there
later times, of
or
of
fails to
it
How
is wrong.
at
PAINTING
LANDSCAPE
70
any
definite
particular picture, because
rules there
on
cloud are
so
forms many
a
SKIES.
which
factors
all
upon the
by
of
pool the
the
local
of
the
landscape.
it
colour,
to
some
but
Aim
Let
is
It
of
at
the
of
be
high
In
truths
*
so
in
which
See
chapter
and
relation
doing
you
go
"
on
its
immensity,
qualities,
to
Reflections
to
up
"
(p.
77).
give The
sky,
a
and
have
worthy
its
and
have
will
certainly
make
tone
that
infinity,
you
your
will
general
reflections.*
little
million
a
its
are
these
landscape
your
the
sky
securing
landscape.
your
of
aggregate
an
added
sky
distance
and
what
landscape.
the
the
up
sunshine
only
of
flag
is
the
light
in
every
That
with
felt
only
not
from
road.
makes
that
be
must
it,
grass,
and
roof,
reflected
the
object not
of
sympathy
in
is
each
of
colour
truths
purity.
it
that
to
essential
being
as
remember
leaf,
sky
reflecting
blade
every
every
understood
Always
sky.
from
from
of
capable
are
but
water,
waterside, be
may
which
surfaces
The
them.
qualify
and
govern
71
a
fine
your attained
picture.
sky
CHAPTER
IX.
GRASS.
would
character
Go
into
others
instead
of
because
being
blades,
the
them,
and
show
a
rich
a
its
character
field
deep Have
you
through glow swathes
?
to
green of
blue
them.
affected
by
the
noticed,
ever
you to
whose Examine
behind
zenith,
face stems
the the
the the same
mower.
sun,
of
here
the
and
there
countless of
little
when
a
the
rich
yellow-green when
grass How 72
is
meadow hue
of
the
of
it
grey
is it
cut
now
majority upon blades
colour,
being
of
cloud. and
mown,
standing
and
and
whether
cumulus
light penetrates
is
aggregate
reflections, white
the
grass
shines
The
it
this
occasional
details
passing
a
the
the
it
greyness.
infinite
of
in
grey;
as
rays
compel
that
of
of
with
look
green
sky
much
so
and
reflection
general
up
penetrates
see
the
of
light
or
of
grass
blades,
and
silvery
the
at
brilliant
leaf
turn
secure
composed.
deluged
will
a
angle
Only
qualify made
of
the the
is
grass is
happen
catch
through
not
of
the
which
Then
is
reaches
each
the
most
the
is
of
You
green
of
blade
every
sun.
at
is
it
look
you
first, and
the
is
which
to
want
cannot
we
uppermost
eye.
the
standing
If
substance
the
to
bright
a
are
you
of
very
from
direction
opposite
of
hue
its
day. it
We
that of
the
through
the
through
and
that
notice
landscape,
a
grass.
factors
sunny
practically
that
transmit
to
the
interstices
the
remainder filter
will
shines
sun
through
that
a
of
material,
of
on
you
sun,
The
green.
the
meadow
a
the
facing
the
of
painting
blade
every
observation
careful
when
stupid
and
leaf
every
general without
be
obviously
ITpaint
in
a
lies appears
grass, brilliant in !
long The
AFTERMATH.
THE
FROM
THE
PAINTING
BY
ALFRED
EAST,
A.R.A.
GRASS.
infinityof
leaves
reflects the
shining,now the
in
of colour It is at
dawn
in
the
from
and
of
in
because
in
appearance
in
the
thing
are
more
and
in
aids
these
cattle
being
a
level
immediate look
blades and
darker
size
add
to
in
their
greyer
than from
reflections
fact
are
on
study
and
its
or
anything
area.
have
In
How
is this
foreground,which
of
there
are
their
lighter,some
deeper
reflectingthe
tone
or
well less
?
to
assist
in
its
grass
in
to
see
;
green
tint of
plain of
sense
for you
each
away
of
The
You
colour.
as
such
stretch
of
shades
many
colour in
avoided
How
took
loss of the
enough
near
local
own
differences of
be
to
a
before
upon
size
you
a
difficult,
flatness.
depend
left but
complete
is
its
if
less
in
But
observation
cases
nothing
is
distance, and
known
a
material
indeed
is
and
many
the
presenting
it
grass
objects, which of
closest
of
the
other
respect, and
this
the
perspective.
extent
in
difference
difference
sense
proper
edge, with
plain.
the
knows
One
and
As
the
and
surface
of
feet
your
even
closely,is composed
others
or
grass
considerable
a
texture,
transmittingthe light,others
observe
of
reflected
the
distances.
trees
of
would
aids, you
standing
you
its
realise
green,
the
the
grief
to
trees,
to
is
perspective.
is
at
grass
and
greatest
realise
as
them
the
there
case
of
in
of
the
field
grass
come
many
the
easily placed
can
colour
light is
latter
the
is grass
meadow
colour
in
requires
you
in
intermediate
diminution
flat
large
in
morning the
former
the
paint
to
and
perceptiblethan their
the
in
whereas
between
uniform
by
lovely combinations
most
difference
the
grass in
wide
a
extreme
so
angles, and
surfaces.
looking across
is
The
dewdrops,
difficult
A
of the
one
remember
to
sunset.
evening,
dry
innumerable
at
freely
was
ago
nature.
important
myriads
of
awhile
sun
sky
summer
revelation
is the
result
the
which
through
73
the will
some
sky, also
blade, some
pronounced.
if
You
PAINTING
LANDSCAPE
74
will
here
see
which
and
break
dandelion,
withered
there the
up
mass.
plantain,and
many
aggregate,
build
up
foreground
it
possible
of
apparent
these, but
off still it is
broken
so
will
be
you,
as
another for
should It
is at
easy,
there
colour of
standing
tree
of
Looking feelingof of
up
to
the
of
foreground
course,
green
not
each
(pure) on
you
find
the
a
is
is
things
comparatively the
to
as
in
local
glass
a
concerned,
the
by
part of
form
becomes
problem
the
a
objects
of
leaves
leaves
same
of
mass
a
test
a
picture
of
colour
differences
being
green.
the
blades
Now
a
in
shades
which
texture,
material, the as
green
you
is
the
made
predominant these
see
you
Nature of
realise
must
you
in
break
must
without
broken up
any
attempt
a
little of
grass. on
brush, and
your effect
of
colours
your
of
foreground
the various
and
that
conscious
are
you
your
subtle
in
into
mix
the away,
as
grass
realise individual Do
when
beech
or
grass.
colour
dispute
colour
as
of
exact
some
help
skill.
at
pigment
your
but
far
so
will
church,
still life for
room
instance,
all its differences
colour, of shades
For
distance
some
hundred
a
get the
to
The
foreground
incidental
these
character
representationof
art ;
immediate
the
the
distant
of
none
realise
to
imitated,
and
judgment
the
But
flat.
things, too,
a
be
not
be
of
most
further
must
may
paint
shadow,
matter
easy
objects.
tyro in
merest
cloud
effort
be
extreme
Other
the
and difficult,
distance
broken
immediate
of
two
the
in
taken
your
or
off it is
the
the
to
river.
In
one
perspective. a
The
can
colour.
sorrel,
leaves,
which,
intermediate
being practicallyno
the
water
to
an
hand.
of
aid
your
quite
close
paint
or
lessen
weeds
realise
to
The
flat
instance
brook
winding
other
foreground, and
the
this
are
details
hundred
a
clover
There
little further
a
impossible.
as
of
contrast
is
COLOUR.
and
stalks
general
the
OIL
IN
little too
your
palette; them
on
cold, you
can
place
take the
If
canvas.
correct
it
by
a
GRASS.
and
firmly,
the
to
colour.
that
the
qualify
surface
and
which
unite of
study
the
in
soil, but
it does
all
indeed
are
grass
latter,and
the
The also
of
red
sorrel
the
suggested by first
that
flatten
them
have
these
but
let this
the
next
here
the
not same
down
in
and
overlook
be
may
but,
;
method
will
consist
there
groups
of
patient the
from
put
lie prone.
in
on
it
portions of
Some
rule
that
broken
the
so,
your
These
and I
These
have
it is
said,
distance
when
details
If
the
will
you
simple
a
is
will
be the
notice matter to
necessary made
flatter,
rubbing in, and
passages
and
ducing introAnd
omitted.
overlay your be
profit,
of
course
be
hitherto
shadows
colouring
it
can
emphasising
of
touches
afterwards.
broken,
with
of
the
in
painting after in
grass.
advantage
described
added
as
upstanding
nettle.
The
first
your
the
qualities
Were
it.
others
taken
the
and
obtrusive
too
painting
of
be
flatter passages. be
paint
velvet.
already
they
are
be
occupied by
can
stalk
means
painting, or
passages
do
flowers
the
of
should
area
prominences
accent
course,
smoother
a
up
you
patches, if carefullypainted,impart greater
level
more
white, of
host
a
and
and
colour,
grows
the
of
it may
field demands
Grass
but
Or
here,
that
green
be
yellow
green.
the
The
portions
more
occurs
whole
the
aggressively erect,
to individuality
to
resemble
picture would
your
the
over
tuft
details.
such
follow
not
strokes
upright
all
some
flake
represent
of
making
and
these
To
of
dash
a
that
local
the
alter
or
painting. will
;
you
separately
and
vigorous
bushy
A
on.
so
also colour
in
more
stalks
down
tone,
will observe
stronger
are
pigments.
there,
flatter
grey,
chromium
subsequent
a
a
too
of
oxide touches
the
yellows, with
and
reds
want
with You
withered
some
at
required,and
be
then
them
painted
expanse
grassy
will
blue
will
be
put
it
find
you
transparent
but
;
unite
and
quality of
greyer
little
on
If
touch.
next a
so
will
distance
be
by
and
cadmium,
of
it
lighten
can
the
in
tone
warmer
75
revealed
grass, in
the
PAINTING
LANDSCAPE
76
shadow
shadow,
the
that
If
effect.
For
blue,
No.
I
grass
plenty
should
transp.
warm
grey
of
you
of
confidence
em^.
ox.
and
of
chrom'^^,
umber
raw
tint
be
will
white,
use
tone
special
feeling
general
the
cadmium,
2
a
and
successfully
this
its
bring
COLOUR.
the
that
except
will
such,
express
you
painting
sometimes
brush,
do
light,
open
as
you
nearly
how
the
in
as
OIL
IN
paint.
and
is
to
and
lower, the
astonished
general to
find
Nature.
yellow and
white,
ochre, rose
a
French
madder;
long-haired
SUNSHINE.
MORNING
From
In
the
the
Painting
possession
by
of
ALFRED
Sir
EAST,
James
Fairfax.
A.R.A.
CHAPTER
X.
REFLECTIONS:
IF
of
the
difterence turn
it
varied
their
transformations
their
shadows
and
Have
than
watched
anything
quick,
the
render
it
the
almost
of
Only
passage,
and
method
the
the
study
the
trees,
green will
see
It
water.
the
which
e.g.
a
has,
the
darks,
we
of
the
in
all
result, and of
lights
Its
to
the
most
attain
diverse,
so
and
thorough
them.
movement
will
of
of
the the
suppose, the
its
shape n
area
a
of
produced
is
so
as
to
mingling inter-
first of
then
mastery
Perhaps
cover
and
persistent study,
passage,
It
baffling
interlacing
its
portray
are
stream?
more
a
both
in
reflection
of
by
the
background
of
its
by
reflections. the
swift
a
more
facts
simplest stage
light-coloured pole standing
almost
contortions
and
objects
examination
an
but
like
sea,
rapid
a
phenomena.
treating be
object,
individual of
of
you
or
same,
inter-action
of
surface
lights
simple
a
can
would
of
reflected
by
of
drawings
involved
agitated
impossible
forms. series
the
of
colours
mutual
sun
clouds,
affect
a
themselves.
waves
natural
in
the
the
the
The
sundown,
to
various
observe
The
sky.
causes.
added
variety
else
the
is
sky. waves
at
face
itself
water
of
dawn
the
immense
an
the
the
you
you
colour
the
of
sky
the
of
when
water
the
throw
Channel,
numerous
be
must
among
you
displays
from from
reflections
the
appearance
tints
its
derives
reflection
portions
know
the
with
the
of
that
currents
ocean
cross
you
noticed
the
to
and
reflect
You
it.
land,
to
which
colour
from
due
wind
the
If
the
in
away
has
of
have
may
you
mainly
incidence.
of
sea
was
angles,
many
lines
to
water
motions
The into
been
have
you
in
some
edge dark You altera-
tions
in
the
surface
of
line
of
the
is
accounted
reflection,the
This
fragments. reflections the
of
PAINTING
LANDSCAPE
78
other
at
and
water, and
as
the
more
the
at
it
gets
find
increased
when
to
represent
of
many
study
to
you
almost the
come
to
thrown
reflected
object presents
in
different
principleinvolved. he
will
reap
this
fascinatingresearch.
find
the
the
surface.
reflection
altered
difficult
to
and
reflections
the
The
agitated as
to
vivid
again, the *
The
From
rough
of of
this
student
glare
might
read
"
of
the
Light
and
absolutely
of
reflected vision
closelyinto
very
water
motion
of
point, but
The of
if the
upon Sir
is
to
not
will
you
the
water
at
the
perhaps may
sky tints,which
most
the
colour
surface
water
the
surprises of
many
long stripsof
Water," by
of
student
the
smooth
water.
sun
the
to
an
angle
particulareff"ect
feelingof liquiditythan
confusion
a
slightlyagitatedby
produce lengthy reflections
reflected
of
the
to
into
inland
but
encourage
the
is
water
have
only
not
is
reflection.*
in
to
if you
task
attraction
case
go
effective
most
the
charm
large sheets
more
reward
still,
You
the
of
is to
ample
was
surface.
to
to
purpose
stream
distinctly,the
scene
angle
lengthened
are
strikingon
a
the
according
seize, is when
foreground.
the
by
space,
the
In
;
confused
pole, your
lend
figure,owing
the
Perhaps
which
defined
more
object. But,
the
moving
present aim
My
of
dark
a
water.
my
the
the
of
or
up
background.
the
from
for
necessary
observe, and
its
other
movement
movement
broken
reflection
reproduces
object itself varying It is not
is
quivering
the
object is
replicaof
a
across
trees
a
the
the
it
conditions
still surface, which
the
with
that
the
of
interruptionof
observe
stream
base
into
But, supposing the
draw
other
are
of
the
light object against
a
colours
There
be
by
will
centre
movement.
difficult
it
the
the
would
reflection
the
of
broken
is
for
the
At
pole
coincident
are
edge
nearer
rapid
reflected
You
COLOUR.
mirror.
watery
angles.
forms
reflected
the
OIL
IN
air,
to
the
most
be
so
create
still. Take
were
sultry day.
water
on
Montagu
Pollock, Bart.
a
REFLECTIONS.
all
throbbing pulsation. Nothing
surface Or
the
of
you
be
its heat
that
is
within
seen
the
upon wish
and
is clear less
lower
manner
be
quite
may
but
by
fields,until cattle and sun's
the
calm
along
the
the
are
the
the
vast
a
hot
and
made,
fact, then the
if that
it is
palettedoes
it)and
you
will
not
find
express that
may
say
light. it
of
the
suggests
a
or
zenith
perfectlyplacid the
heat
the
upon
flat
distance, and
the
This
height upon the
places,where
the
cuts
glare a
intense
of
compromise
feelingof
it with
The
out
light
some
the
a
passing, that
Break
more
the
At
effect
usual,
in
a
strange radiation.
in
it.
in
observe
The
you
seems
peculiareffect
is
edge.
you
in
trees.
compromise gives
justified.I
its
looking from
As
surface
gives
in
entirelyrealised.
everything
which
expanse
interveningdarks, and, be
it would
August day,
its
the
slender, apparently divides
be
hot
by
trunk
cannot
and
growing
a
of
sunshine
to
picture. Every sky
harvesters
of
flash.
You
fields
caught
trunks
broken
clear.
along
substance is
a
the earth's
heat,
your
distorted
is sometimes
the
on
landscape horizon
pure,
figures of
between
noon
from
sensation
and
horses,
reflection
river
this
the
by
capillary
which
it in
vibrating with
the
brilliance
sensation
low
its
reflectingsurface
a
practicallyspeaking,
a
of
the
The
sky, which,
noon
and
shimmering
distance
of
air
except
quivering mirage, how
actuallysee
with
big
marked
blue,
a
the
give
to
You
at
a
very
instantaneous
an
the
paint.
sun
with
certain
a
vibrating?
be
air
fills the
in
intense
with
the
also
sense
a
floating rushes.
of
edge
is
leaps, and
till it presents
realise
noticed
you
sunshine
some
water
an
impossiblefully to
how
it
reveals
and
Have
to
the
up
The
move
fish
A
waves.
seen
to
haze, and
metal.
you
seems
reflects the
have
pulls
sun,
heat
water
may
attraction the
the
of
disturbance
about
soft
a
molten
of
mass
heat, and
with
thick
seems
inert
an
with
mountains
the
lies like
lake
sleepy
dimmed
has
heat
The
79
the
the
must
actual of
white
yellow (not
mix
higher key, although
in
PAINTING
LANDSCAPE
8o
is
realityit
of
Similarly the juxtapositionof feeling of
predominant tone, the
give
may
than
light
and
interestingfeature, sunshine The
better
beauty I
design.
blue
of
the
gleamed this
to
water
in
the
amber
of
interstices
a
sky,
the
the
part of
the
passing
current
of
and
transferred The
thing
reflection
in
painting
by
reflected
cows
under
the
an
We
admire
afternoon. with
which
many
of
the
in
the
I
Nature. show
reflections
in
Nature
the
beauty
The
lamps
variations its
of
in own
in
the
to
just
them a
been
puddles.
local colour
and
shore
supposed it
reflected
a
a
cloud,
rosy
parts of is
than
white
a
puzzling
a
the
exercise
fold-yard,uncomplicated
the
throw
reflection
have
brush
the
of
the
;
back,
criticise
artist.
to
pavement
was
the
upon
eye."
your
street
they
it
of
"Because,"
sky
back
lit,and The
that
eastern
crowded
picture
a
comment
inquired the
"Why?"
no
would
its
a
made
I
mirrored
of
of
under
your of
the
lake.
on
asked
once
was
evening sky, and
wayfarer,giving
sky
shadow
tint
the
on
amid
the
no
your
wavelets, ruffled by
part of the grass
to
have
But
the
up
of
Fuji-yama
grey
would
above.
it is far worthier
lights,
replied,"you
surfaces
sunlit that
cow
painted from
not
from
but
caught
remoter
a
with
paint;
of
I
it to
combined
cow,
air, had
idea
much
ending
mystic
Innumerable
heavens.
the
Beyond
One
colour.
rose
sky immediately
another
feet. the
most
a
sublime
Hara,
my
pitch
composition.
the
of
and
make
and
contribute
of
at
peak,
snow
flat
a
higher
a
conveys
your
may
Lake
rushes
of
the
flat tone.
a
reach
of
reflection
the
strip of pale
reflect
colour
the
recall
as
probably
detail
other
any
reflected
of
can
the
across
than
that
that
as
landscape,
which
one
pigment.
broken
so
same
may
the
in
else
anything
values
reflection
by
white
vibration, although appearing in
colour
of
houses
of
pigments, is the
of
sensation
a
general arrangement Roofs
of
one
certain colours
the
actual
the
than
shade
lower
a
COLOUR.
OIL
IN
on
are
a
wet
repeated
reflects the
accepting others.
REFLECTIONS.
On
the
from
in
probably of
A
South.
Not
in
dress
scarlet
transferred
object
add
defies the
paint,and
sky
The
object
the
one's
eyesight
reflected
of
snow-slope, imparts But
that
though
brilliance Note the
be
can
the
of the Do and
learn
Note
that
light,but
which
Corot to not
every
sky
with
an
M
those
the
melt
is
this
by
into
its
which darken
to
its
end.
own
means
lend
same
strong that
so
defeated
desert, or
endures
realised
upon
reflection
to
was
distinct
so
a
in
on
an
one's
Alpine memory.
partiallyby words,
its
thoroughly
before
colour
of
always
with
a
trunks
you
will
of at
tree, examine
attempting
the
trunk
in colour
according to
surface,
the
trees
near
get rid
once
betray. your
colour
absorbent
brightlyas
as
in
round
leaf, while
the
artists
many
only
amateurs
is the
only
sky, reflects lightand leaves
this
Walk
it
know
landscape,
adequately conveyed by painting.
most
did.
reason
blazingreflection
heat, which
of the grass
painting
the
would sun
a
which
be
may less
much
By
hardness what
glow
reflection
ground.
light
sensation
a
by
greyer
So, again, the physical effect upon
Eg^'ptian scenery.
to
the
achieve
to
England
but brilliant,
Cairo
of
have
pronounced light.
more
drove
light and represent the all-pervading feature
the
sunlit
which
failed
richness
You
sky.
grey
parts of
whiteness
device
they
a
looks
circumstance
this
which
of
glare
their native
conventional
a
"
in
street
a
time
same
loss of that
landscape
scene
light
the full brilliance of colour
component
English
the
at
the
reflected
this respect between
the
is
the
Egypt,
to
in
consequence
an
to
In
surroundings. houses
in
so
view
it under
difference
only
and
being
To
see
of
colour
it becomes
the
must
colour
the result
of
amount
enormous
is grey.
sky the
local
the
but
the
remarked
the
and
an
subdues
country, you
any
is
pitch of light,the
when
sees
one
which
sky,
the
raises
there
bright day
a
8i
as
in
altered
smoother
elm, do
paint
by
surface.
For not
narrowly,
to
sympathy
its surfaces.
the
it
it.
reflected with
the
example, reflect
And
the
always
LANDSCAPE
82
that
remember
of
the
the
of
of
the
surface.
of
reflection
to
a
Without I
boat.
submerged
changing
its
and
branches,
before
my
will
you
The
other
I
reflection
of
the
the
should
set
I
that
in
ribs
and
will river
a
seats.
my the
Upon of
eyes, same
and
tree
a
reproduce foliage
to
the
the
hundred
saw
closed
sky.
studied
conscientiously
half
its
within
things
see
day
out
depth on
the
just modelling
not
reflected
the
its bed
distinctly its when
depends
that
rainy day
a
is
reflections
of
position,
the
you
have
you
on
perceived
reflection
sky
of
factor
I
but
nothing
saw
Note
the
colour
streets, and
wet
of
within
street, there
light also
aggregate
how
sun-lit
a
Remark
the
revelations.
as
you
reveals
noticed
The
character
the
by
up
have
road.
echo.
the
COLOUR.
across
shining
objects.
the
will wall
an
by
water
dark of
phenomena
like
again
Shallow
the
of
indicated
is
You
OIL
is built
tree
a
leaves.
reflection
water
of
IN
white-washed
a
re-reflected
come
colour
its
of
shadow
and
the
colours
gleams
PAINTING
action
of
reflected
light. A
thousand
give
animation
of
scythe the
and
pond
stagnant the
things
carter's
vivifies
your
always
manifest
its
not
the
painter, let
aid
of
a
until
it
the
dignity
the
sympathy
his
of
and "
be
often
work.
unity Kissing
with
Gilding
the
the
to
sceptre of
There
may
is
so
can
never
define
it,
Nature, golden light the stream
with
meadow
green,
heavenly alchemy."
no
a
touches ferrule it
king; It
the
in
decorative, who
to, and
a
picture.
your
easily forgotten
so
adds I
it illuminates
the
of
edge It
Nature.
ever
If of
is
faces
one
which
soul
a
It
presence.
his scheme
;
grass
the
diamonds.
of
glistens like
gives
readily when
quality
dank
which by reflections,
light makes
necklace
a
the
subject,and
but
so
like
severs
whip
beautified
are
vitality. Reflected
sparkle
which
in Nature
should
studio, for
excuse
neglects the detract it
from,
announces
CHATEAU
From
GAILLARD.
the
Painting
by
ALFRED
EAST,
AR.A.
CHAPTER
XI.
DISTANCE.
THE according while
in
so
this
In
greys. that
it
towards
the
purple
them,
upon rock
of
difficult at
when
prevents
study,
as
do
of
diminution difference
judge
and
from
"almost," the
small
in
the
from
is
resorted
since
is
from
people
the
sense
miles
instead
difference
of
look
to
known
a
before
object,
who
someone
!
the
always
not
"
This
is 83
we
the
from
unconsciously
almost it
upon
us,
arises
This of
we
the
of
do,
colour. size
our
in
sum
shining
as
gazes
for from
example
most are
of
the
judgment
by close
a
The
values. to
think
house
a
of
it is
that
fact
sense
Nature
making
begin
express case,
an
of
how
a
knowledge
colour
such
is
in
of
so
figure,
or
I say
frequently
we
a
of
height, the
the
easy
opinion.
our
of
scraps
that
colour
objects
certain
tone
know
realise
of
key
high
actual
looking
sun
We
to
sky,
simple
setting
and
depending
mental
form
that
exclamation the
a
should
we
distance
how
but
this that
from
us
We
colour.
to
a
when a
revealed.
are
Nature,
know
We
problem.
the
variegated cultivation,
etc.,
in
painted
such-and-such
fact
in
are
the
of
light
the
of
heather,
of
objects
distance
low
of
tender the
into
evening, often
blue,
of
marks
which
are
In
supremely
merges
autumn
ways,
seen.
commingling
line
hills
the
detail
every
these
distant
with
but
;
clear
a
is
it
be
often
the
see
distant
the
patches
or
to
on
varied
a
thousand
a
which may
distance
the
country
sun,
be
in
under
distance
a
may
Scotland,
In
deep
it
impossible
is
division.
of
instance,
England
varies
landscape conditions
the
to
for
Italy,
distant
of
colour
"
hear How
constant
LANDSCAPE
84
scale
appeal to valley,a
a
in form
governed by dawn
from
to
distance
given
with
sympathy the
as
long the
general
line down
the the
the
sky, and
vouchsafes
of
The
sky. flashes
road.
wound
the burnished
triumphantlyon
its course,
magical.
vibrates
It
of
each
step adding
and
gives mysterious changes
the
young
light
glistening flood holds and
its the
There as
the
bathed
face
an
One
upwards
far-sweeping
are
shadows
no
is
sun
in
high
light.
end
should
for
We to
notice
visible
are
the
now,
and
us,
struck the
convey
more infinitely
except
the
sensation
now
place
distance
all
hours
things, ago
landscape
in
with
a
foreground which the
of
glory
the of
sunshine,
eff"ulgence.
strange
from
whole
the
in
the
over
the
marches
sun
beauty
the
its
in
by
than
colour The
the
to
the
saw
fills the
throbs
distance
variations. it is
back
line
of
grey,
makes
we
a
before, are
modest
and
leaf in
Every
laughs
above
scene
It
morning.
easily desired
more
multitudinous memory,
the
reflection.
of
illumination, but is
of
with
itself behind
dark
new
through
the
to
a
the
blue-purple
were
heat
of
glamour
scintillates
and
started
mid-day, whilst
gold
in
through
a
hill in
the
any
of character
sapphire background
the
on
below
The
departing charm.
like
itself
at
changes
till it hides
cottages, which
The
it
wanes
which
shadow
throws
patches
river, which
back
each
and
and
on
changes
colour
revelations
fresh
hillside,creeping
the
marble
as
the
Observe
the
is
which
colour
its wonderful
in
increases
light
of
say
all
under
rate
imperceptibly
Almost
volume
tangible facts.
same
we
hour
an
same.
winding
white
now
for
winding through are
the
at
atmosphere
Not
road
houses
shall
what
of
?
brightening trees,
across
of
But
sunset
distant
or
COLOUR.
The
they recede,
as
conditions
day.
summer
long
trees,
conditions.
atmospheric is
poplar
OIL
IN
distance.
of
proof
a
as
of
row
diminish
They
PAINTING
objects,
near
the
distance
breadth
and
by
painted
our
beauty
is of
canvas
attained.
effect of artist
this heat
should
beautiful
than
glamour,
absorb we
deemed
in
it into
its his
possible.
tX3^i^"aGHJt
EVENING
From
SONG.
the
Painting
by
ALFRED
EAST,
A.R.A.
DISTANCE.
I
of
know
this
conquer
the
observant
familiar
most
would at
almost
eye,
effects.
counsel
not
It
known
is
of
student
any
to
less formidable
the
shadows
the
veils
reveal
hill
over
without
conditions
is
the
leads
eye
of
I
the
and
Nature
will
charms
endeavour
and
then
the
the
sky
line.
natural
We
the
hillock
this close
of
distance,
field
a
it
hard
Distance
the
under
any
which
distance
landscape,
a
the
to
all
demands,
that
of
paint
grey
in
enough
beautiful
A
has
their
lay
or
it
attempt
effect when
an
subject
a
in
lover
of
may
be
river
a
middle
skirts
know
material
is, of
familiar to
the we
upset.
that
fact. feet.
our
foreground find It
we
a
to
a
grey,
and
elevation
us
lower level of not
at
grass the
take
test
a
colour
green,
and
;
towards
it is
posed com-
feet, and
our
colour
the
with the
green
by
of of
to
as
grass
the
ledge know-
our
is
Here
case.
bring
lands
the such
is
bank.
its
recede
face, so
our
field and of
lands
off is
judge
let
conception
our
is
on
the
as
But If
afar
Stretching
sloping
ploughed
grass
course,
the
winds
path
a
distance.
the
or
that
landscape comprising
a
which
across
the
hints
few
a
imagine
us
fields and
grass
same
inclination of
Let
by intercepting trees
back, the
of
grass
of
undulations,
hidden
At
select
trees,
with
you
foreground,
grass
ridge its
among
him
is
to
colour, until he
unfailinglyappeals
furnish
to
instructive. a
the
over
which
I
difficult.
beyond
the
to
Art.
profitableand trees
and
through
evident,
all, yet painted by few.
find
diligent study.
most
art, have
its
the
most
Europe
is, perhaps, one
distant
sufficiently baffling. It
yet repays,
one
the
essaying
; it
Let
will
in
to
of
on
of
modelling He
is
it
landscape painting
effects.
road.
or
conscience
the
the
attempted
independent
Yet
day
summer
has
pictures
an
it.
in its influence first,particularly
overcome
is
of
wonder
every
few
of
became
landscape painting
adequately expressed
who
school
know
I
problem.
since
which,
old
the
of
master
no
85
of
latter a
a
the the
pletely com-
quality
LANDSCAPE
86
to
as
thus
juxtaposed
between
nearest
the
the
ochre,
distant
through
haze
a
yellow
ochre,
these
being
of
are
all
as
purpose. the
nearly that
with
extreme
the
is
same,
necessary
least
to
the
exact
The
lower
distance.
the
to
will
may of
the
yellow
(all But
tone.
colour
each
be
painted
have
observed
difference.
that
madder
of
texture
seen
find
will
the
must
You
colour
when
rose
proportions
alteration
suggest
and
approach
sky
The
you
of
vene interThe
cobalt,
;
paint),
two
remote.
white,
suspicion
white)
that
tone
colour.
local
umber
raw
the
more
by
difficult
the
tell
its
and
so
and
can
the
for
time
effect
course,
experience
suitable
same
(an
the
obtained
madder
rose
cobalt,
suppressed, only
of
and
of
be
may
of
variations
the
green
Between
them.
material
positive
grass
touch
a
all
nearest
the
is
grass
between
lie
COLOUR.
OIL
IN
distance
the
suggest
colours
of
PAINTING
and
at
treatment
the
that
A
From
MIDLAND
the
VALLEY.
Painting
by
ALFRED
EAST,
A.R.A.
CHAPTER
SELECTION
THE
that
his
in
others
if
but
been
the be
may of
failure.
to
you
may
expressed should
the
or
you
you
should
it
merely
able
the
to, charm
all
find
to
the
by
not must
you
paint
express
add
to
of
form
the
a
its
learn
in
into
allusion
colour. 87
new
the
who
this
also
in
mind,
only
conviction
through
to
of
I
should
can,
meanings
or
cessful suc-
expression
difference
domains.
be you
a
that
than)
a
remember
can
that
you
domain
standpoint,
which
that
You
literary aspect.
from
expression,
better
but
future.
picture
method
what
It
beautifully a
you
a
literary subject,
that
on
painter
Bearing
carry
their
interest
subject,
with
necessarily
stray
literary and
of
have
you
may
the
a
subject
to
delights
the
highest
select
and
He
faces
filched
inspires.
painter,
if
in
so
the
some
Nature
anxious
which
means
sufficient
unwittingly
to
she
which
story
(though
not
other
he
is
public appreciation.
how
to
in
arts.
over
be
to
been
Nature
to
not
of
from
is,
employing
musician,
lest
it
beauties
that
matter
has
landscape painter
us
problem
a
No
Therefore
from
is
subject
confidence
have
issue.
poet,
its
go
suitably
different
likely
work.
able
be
is
subject
you
tell
and
music,
others,
are
wish
if
or
When
advance
a
his
executed,
literature
there
of
of
outset
in
SUBJECT.
sister
is
he
always
past,
the
trusts
artist
true
a
is
selection
and
A
to
the
by
Nature,
is
the
in
so
The at
he
work
Great
score.
has
of
of
reveal
revealed
be
cannot
OF
existence and
discern
can
expression ;
the
of
d'etre
he
which
TREATMENT
AND
raison
Xir.
of
the
consists,
do
not
say
paint
not
ought
to
conveyed
be
by
88
PAINTING
LANDSCAPE
what
Excepting from
want
you
material
have
I
Nature,
before
you
be
sure
expressed by painting.
the
matter
of
everything,and
question
he
make
to
descends
"
difficult.
Half-a-dozen
under
the
conditions, and
That
is
because
specially appealed aff*ected like
by
other
but
Nature,
these
six
himself difference think
particulareffect
then
that
the
would
have
different These
the of
effects
sketches
will
of responsibility
the
particulareffect
under
is left to effects him
his
from any
which
to
advice
at
best
enhances
selection
he
all, it
beauty
will
show
is
with of
what
stuff
to
he
is
the
subject,and
the
the
it.
say
selection
The
of
which
paint that
to
which
of, for,
give
most
In as
the
effect
the
characteristics. made
90.)
of
say, "
under
truth
to
landscape
leading
material.
the
If I ventured
choose.
simply
feel that
p.
his
him
the
(See facing
paint
to
the
of simplicity
might
for
might
One
subject
you of
it is for
the
its
to
treatment
will
he
sunset
home
elects
entirely;
harmonises
the
the he
which
discretion dawn
in
selecting
paint it;
same
meaning.
my
probably bring artist
the
of
to
imagine
Now
third
effect
best
less
or
more
each
the
a
each
been
marked.
while
the
sketches
illustrate
to
be
would
suited
best
results !
thing, which
other.
he
subject
the
are
have
will
as
and
same
one
others
more
noon,
gave
by
is
He
more
the
different
paint
cannot
becomes
paint
which
effect
light of
painted eight
district,and
each
much
very
colour
his
subject,but
same
under
early morning
evening glow I
be
paint?
result
from
the
of
problem
he
the
differ
painting the
landscape,another the
will
be
can
s/ia//
influenced
and
as
he
may
qualities. Every all
artists the
him,
to
the
from
artist feels
yet how
been
has
one
the
selection
of
artists
more
same
arises
what
responsibility. In
subjects in
task
details, the
to
is such
what
is
from
selection
his
selection
The
picture.
a
selection
lies your
there
selection, too,
the
your
take
privilegeto
make
to
Therein
possibleovercrowding forced
free
are
you
best
of
COLOUR.
OIL
said, it is your
but
;
IN
I
this
have
said, he that
is
free agent, and
a
is
there
opportunity
very
like Nature the
and
in
that
the
subject
The
better
that
if
its
analyses
highest Nature,
the
Nature N
rarest
real of If as
It
inadequate, mood,
sary absolutelyneces-
with
your
have
this
sibility, responbeat
to
an
painting
limitations an
one
and
ditions con-
be
cannot
as
art.
conditions
little
that
qualitiesessential non-essential.
are
selection
look
to
One
another
gift
is
the
its
by
which
its
it.
can
Some it
see
details
for
the
moved
see
the
reveal
by
and
big facts, plicity sim-
the
qualitiesby things which
the
big things
and
disciplinehimself
accept only those
one
complexity. Perhaps to
power
fundamental so
is
One
what
others
of
look
may
artistic
an
for
to
Nature
becomes
astonishing
immensity
ones.
and
can
the
monochromatic,
parts.
artist to
subject for
subject under
is
the
those
an
of
what
essentials, those
man
the
predisposed
sees
the
for
and
expressed.
pictures
worse
shirk
a
such
are
almost
One
Nature,
mind
is
one
component
another of
from
what
order.
Nature
see
be
offeringsthat
first
the
polychromatic.
the
consider
her
Nature
painters
assertion
selected
you
his
specialcharacteristics.
its
out
prolificin in
is
her
is
be
of
to
paint your
you
its characteristics, and
of
claim
It
lest
selection
branch
other
any
must
we
quality
bad
cannot
decision
a
it should
art, and
your
bring
support so
to
subject conforms
your
Secondly, see Next
You
loses
many
in
should
who the
a
conditions.
then, in the
expressed by
will best
such
choice
ample
an
behind
are
89
retreat.
that of
and
rush
first aim, be
must
There
mind.
in
fullyborne not
himself
painting
for
SUBJECT.
artist
represented Nature
unsuitable
most
ignominious
see
have
the
do
The
respects ; but
under
so
shelter
Nature.
some
painter may
consideration
is
like
picture is
his
A
offers such
failure.
to
attempt
may
OF
Nature
for
excuse
no
that
for
TREATMENT
AND
SELECTION
of
stamp
upon
which
it
when are
is
painting great and
LANDSCAPE
90
PAINTING
paint
them
in
just values,
then
his
and characteristic, their
in
I.e.
be
to
never
and
tempted
sometimes
paint
If
church.
or
church
a
Such
of
effort.
his
I have
idea
that
have
and
want, that
they
in
the
art
made,
but
to
1/
study
transpose you
outline
to
ask, suit
of
he
her
forms
my
take
close
with
the
hand, but
patience
spectator with in
such
that he
if necessary tree
from
composition,
and
to
this
put
what
knowing them
convincing This
must
his
place
truth
is
artist
The
enough
a
high
is
born,
of
"
its form the
the
Nature
requirements.
here, in
that
through
go
because
you
together
the
knows
it
conjunction,
in
bring
he
success,
With
materials
for the
Nature.
them,
by
to
landscape painting. is confident
a
at
conjunction
attain
until
"
them
music,
painting.
materials
a
been
or
realised
Nature
to
these
poetry
in
express
as
have
may
in
fully
go
But
literature.
sentiment
not
may find
not
able
be
actually in
were
toil of to
find
they appeal
quality not
will
you
you
painting an
preconception, such
a
better
scheme.
in
or
suggestion you
how
beautiful
be
only
music
waste
matter
no
embody
to
This
some
to
mind
will
not
try
with
could
felt you
You
may
you
by
seemed
in your
it.
Nature
repose.
mind
which
you
realise
or
not
this
twenty-
foolish
general
your
expressed by
to
dignity
idea
an
should be
go
your
which
such
so
course
suggestion
and
to
better
it assists
as
distant
a
that
the
can
known
within
tempted by anything,
far
you
include
once
it
some
I have
inch
at
seen
of
moment
a
square
itself; remember
so
may
in
begotten a
in
that
of
sentiment
in
said
of
may
you
be
purpose
your
be
not
it may
charming for
Do
one
you
always dangerous,
to
for
quality
caution
me
work.
order
other,
that
because
is
impulse
reflected
exactly
Let
landscape of your
each
to
possess
style/'
picture in
feet, he might eight superficial
relation
true
"
an
success
had
he
covered
mill
or
paint
six-foot
a
COLOUR.
pictureswill call
the
OIL
their
we
it.
fatal, to
to
person
mill
to
prettinessin
accidental
a
which
difficult of definition
so
IN
place
May and of
a
I.
STORMY
DAWN.
2.
STUDIES
OF
EFFECT.
EARLY
MORNING.
"'"*"
3.
NOON.
4.
STL'JjlbS
OF
EFFECT.
CLOUD
SHADOW,
6.
STUDIES
OF
SUNSET.
EFFECT.
7.
MOONLIGHT,
8.
STUDIES
OF
NIGHT.
EFFECT.
in
tree
you to
is
there
replant your
Only
tree
who
the
see
is
of the of
taken
the
there
had
admired in
material
the into
endow
art, to
little like been
discover
the
of
authority to
an
of of
the
beautiful
subject,
For
its treatment. realise
the
cannot
for
one
of
his
in
that
and
grand.
example,
of
that
works.
beauty of
which
the is
No
the
we
has
He
of
apparently doubt
temperamental
the
attitude
poor
treatment
toward
be,
but
the
function
requires
they
a
Nature.
subject in
upon which
they of
that
so
Nature.
it In
transmuted,
becomes
glorified
subject depends That
upon
glamour
become
sordid of
Venice
fullest,but
effects
and
rather
wonderful his
treated
Nature
that
one
the
the
of
Nature.
is
to
wonderful
most
facts
to
picture
beauty the
is
picturesof
city
compared
the
transmuted
This
may
see
may
having
altogetherdependent
that
beautiful
be
moment
one
treatment
and
one's
facts
Turner's
exceeds
how
is not
art
of natural
use
subject
a
impression
who,
has
precious unity.
one
selection
matter
who
man
the
arrangement
some
the
that
see
true
charm
altogetherin
not
art
the
a
where
spot
actual
for
those
"What
a
they
the
sorry
that
discrimination,a line work no
visit
a
your
from
will
one
of
rest
place!"
painted;
aerial
pictorial
remarks
often
displaced;
same
the
as
naturally
let the
;
the
in
it
one
right
originally.
if it
as
extent
picturegives
have
it there
the
the
Yes,
much
as
charming
been
the
with
man
the
Though
has
rested
but
scene,
a
is very
long journey,
a
and
91
purpose?"
appears
confident
as
SUBJECT.
have
trees
People
I
my
probably elicit
that
materials.
scattered of
there, and
to
angle as
other
it be
etc.
landscape
place, but
those
they
!
"
tree
form
picture, "What
famous
material
with
A
planted
same
correct
will
you
delightfulscheme some
the
painting of
Then
landscape.
the
lightedat
OF
You
peasant who
transferred
your
identical
let the
plane;
suitable
so
forbidding.
the
have
perspective be
not
law
as
; let it be
shadow
its
is
no
it that
to
see
there
grew let
that
Nature
may;
TREATMENT
AND
SELECTION
is
upon
well, for
as
I
have
before,
it
is
this
expressions
of
art
so
said
different individual In
that
the
in
represented the dawn
to
arrangements
of
the
sketches
give
subject
be
can
If
interesting.
and
morning their
be
sunset
the
they
cultivate
splendour
that in
our
to
was
not
by
cannot
of
Nature
the
work
that
ordinary landscape
;
would
Turner's sees
one
with
but
the
and
of
be
dawn
fascinating
camera,
thoughts
magic
all
of
express
the
of
of
that a
to
would
of
around
not
art.
see
them.
but
I
even
faithful which
treatment
Turners; can
associations
and
accurate
of
Turner,
morning.
does
photograph
by
created
of
subtleties
mystery
and
the
which
form
these
the
more
ordinary dwelling-places
as
thousand
splendour
the
insight the
by
construction
glamour
minds
readers
my
the
material, but
the
picture
that
their
of
still
material, which with
any
selected
I
background
Revealed
picture, a
glamour
of
the
by
the
into
The
delineation
aware
of
crowd
suggest.
details
veiled
sight
a
real
These
which
which
beautiful
its
water,
8.
been
the
by
really fine
the
Sea."
to
reveal
more
in
and
outward
the
see
difference
had
have
you
which
will
no
No.
But
associates
instance,
or
bridge
and
i
ways.
interesting enough
hard
almost
are
ideas
raises
with
going
little
little material
but
associated
"
all the
With of
with
much
buildings
of
row
with
"
l/^enice
of
them
upon
by possibilities
show
how
for
Note,
the
simple one)
very
probably,
would,
peculiar qualities one
moments.
"Sim
when
different
conditions
peculiar glamour,
assist
a
evening,
No. the
of
illustrations
different
under
Nature
makes
stamps
fields, the
and
trees
between
result
the
that
chapter, you
is
There
sunset.
in
painted
this
subject (a
same
suggestions
you
and
interesting
illustrate
contrast
subject, the
finer
or
the
great
COLOUR.
OIL
personal quality
which
effects from
how
yet
IN
distinction.
sketches
eight
have
I
and
character
the
varying
a
PAINTING
LANDSCAPE
92
am
they
fully may
possibilitiesof
THE
From
"SUN
the
VENICE
"
From
OF
Painting
VENICE"
by
FROM
a
Photograph
J.
THE
M.
GOING
W.
TURNER,
LAGOON.
by A linari, Florence.
TO
R
A.
SE4.
CHAPTER
XIII.
PAINTING
deal
GREAT
A
this
reason
for
extent
a
it
school
faults
and
lethargy, the which
it
years
other
before
Artists effect studied
in
sunlight
upon
them,
from
direct
vision
difficulties
painted were
possible by its
painters
took
method
atmosphere
and
effect
secure
them
the the
illumination?" 93
their
of
artificial their of
had
in
and
arrived, with
gress proit
was
recognition. the
painted
observation,
and
light, shade,
and
large on
question freshness
all
individuality
due
air,
immediate
out
But
to
open
before
subject
lessened.
not
this
the
the
the
though
its
its
but
;
;
plein
although
parallel
received
subtle
the
era
''
from
achievements,
attitude
The
than
advances
human
peasants
and
of
of
studio
limits
and new
a
make
to
natural
more
Landscape
Nature,
art
their
with
colour.
for
departments the
others
and
posed
now
of
Constable
possible
was
in
sense
of
freedom
the
the
awoke
Painters
large
a
down
it.
better
were
a
handed of
legitimate
school, been
to
this,
accomplish
method. in
become
revivify
to
school
have
odour
from
air''
plein
recipes
the
beyond
new
that
felt
example
the
older
the
of
had air
pushed
of
combined
had
tage advan-
direct
may
of
respects,
some
been
have
may
fresh
of
in
did,
procedure
it
breath
There
painting
and
''
the
to
as
pictures
the
combination
a
place
large
party-cry.
conventionalists, a
methods the
landscape
old
wanted
air''
this,
formula,
taken
itself
calling
their
as
has
painting
principle
mere
the
by
of
school,
A
Nature.
NATURE.
discussion
of
otherwise
or
made
FROM
to
canvases
the
arose:
of
The
spot.
"Was
Nature,
the
LANDSCAPE
94
it
Undoubtedly
danger
of
was
the
still
the
the
at
saw
be
would
effect
the
light
portion
on,
courage
at
the
to
retain
would
this
plan
you
long enough
your
sketches
your
subject.
for
insure
not to
get
keep
to
If
subject
again
has
*
I
dogged
efforts to
and
offers
realise
changing the
commenced
young
it
fruit
was
of
a
picture
up
according
aspects
its colour.
upon
to
Nature,
determined
well
his
mind
to
his
ideal
of
When
I
"
of
"go
for
sticker
"
the
full
it."
He
saw
blossom
of
w^ould
blossoms
a
descends,
effect has of
paint
the
time
weather
changed,
colour
which
Nature, startinga picture of apple-
development painted
the
vanished, the
picturefinished
have
picture of
a
rain
perfection. Conscientiously he the
before
would
The
your
to
course,
might
the
by
of
Of
you
combination
ahead
till,at length, the
developed.
and
the
large masses
the
Or
effect
scheme
paint
to
that
done.*
attractive
was
spring
find
picture was
the
his made
determination
the
suitable, the whole
painter,who
a
in
the
having
you
the
to
respect
brought indoors,
is
become
remember He
the
in
would
you
mainly depends
longer
no
blossom.
the
that
large canvas
your
it
before
faded
have
right
ventured
apple-blossom, probably
and
to
of
the
while
colour
If
another
out
picture.
the
sun
true
in
way
values
the
were
effect
day
one
shadow.
in
only
every
thing
later
satisfactoryresult, but
a
the
picture
had
you
this
the
finishingthe
that
you
you
time
fallinginto
now
The
were
and
was
the
in
that,
hesitation
minutes
correcting the
while
them
of
false.
short
a
painting
sketch, they
a
paint
to
painted it,
be
time
same
avoid
five
which
in
less
or
difficult to
had
you
paint
to
more
portion
picture would
of the
was difficulty was
that
on
time
the
by
Nature,
with
was
of
great
sunshine
of
being positiveas
surface
a
The
instead
effects
these
of
path
frequently happened
forgetting that
upon
the
overcome.
always present
was
moment,
of
of
It
COLOUR.
light
painted, the
purpose.
blazing
and
changing It
so
temptation
The
error.
the
expressed
or
of definite
lack
faced
be
to
OIL
difficulties beset
instead
is, that
distributed
were
IN
moment.
large landscapes
crossed, that
but
;
following
of
effect
an
was
have
which
men,
PAINTING
it
was
of
the
blossom altered
flowers, and with his
painstaking picture with
full-grown leaves called
with
"Gathering
appeared, Apples"
!
A
From
GLEAM
the
BEFORE
Painting
by
THE
ALFRED
STORM.
EAST,
A.R.A.
PAINTING
had
induced
contend
with of
in
canvas,
painting
have
you
If, therefore,you five-
six-foot
or
place, make When
big
stick
a
re-draw
;
canvas
down
take
but
before
off the
better
be
Now
since Set
paint. use
you
have
arranged
set
and
upright is, the
in
made
centre
in
your
Nature
the
take
a
of
the
so
that
height
done
well
each
either
absolutelycorrect
look
for
of
your
frankly.
Do
not
so
work
which
closing
with
Nature"
fidence. con-
standing
that
than
the
without you
will
your
eyes to
darks,
this stage worry from
colours
"
relation and
that
large canvas
your
reached
lights
the
(p.14),
to
your
then
paint
to
it,
Have
picture.
to
sake,
express
little lower
a
right
Chapter III.,"Sketching
had
heaven's
for
start
can
be
half
at
to
begin
can
you
of white, and
be
can
and
your
benzine
Assuming
brush.
"
values
rub
to
with
may
thin
a
broadly
contours
See
I
you
should
readily by
more
as
off the
starting. That
shoulder, with
masses
brush
before
plenty
part
start
satisfactorily,
so
it
get
that
a
rapid change.
charcoal, using
drawing
large
your
area.
it.
your
a
your,
painting,say
wash
or
than
canvas
large
*
in
pencil, then as
of
enthusiasm,
lead is
culties, diffi-
smaller
to
have
already described,*
their
fearlesslyand
your
prepared, if
sooner
such
at
the
Be
freelyfrom
palette hand, Paint
have
to
have
Work
excites
upon
palette with
your I
as
liable
its surface draw
colour
dipper big enough you
not
you
stone
you
palette!
all your
waste
is
to
should, in the first
Nature, you
it
so,
of
The size
the
over
palette generously. Don't,
your
starved
a
of
a
of
has
one
Nature.
reduction
composition
When
pumice
before
difficulties
experiment
that
with
greasiness
done
from
your
doing
with
the
the
one
of
lines
the
are
subject
possible. the
charcoal
the
outline
as
over
make
discovered
an
95
greater command
picture,direct
have
by drawing
Such
with
to
that
NATURE.
large picture from
a
a
care
sure
you
it.
diminish
course,
since
paint
to
you
FROM
fatigue. observe "
but
in
each
other ;
then
paint
about
details,
LANDSCAPE
96 look
but
for
outline Your
of
of
shape
the
the
be
its
but
two
or
comprise
darkest
your
trees, the
These
tint.
stage of your and
as
the
done Do
at
exact
in like which
is better
this
at
Before
various when under from
You
that you You
know
should
and
to
half
elect
else.
If for
it is
make to
familiarise
to
a
for
block
in
should
It
finished, that
it
study there
is
sketches your with
in
colour
the
of
a
under
your it is
also not
apart
gain
you
the
Do
painted
time, for
with
what
discover,
to
been
not
under
it
see
knowledge
its forms.
righttone
will wait.
to
lost
picture,and
receive
contour
pleasant
of
ceed pro-
strongly advise
and
has
it
things
must
the
of
should
intimatelyacquainted put together,and
it ; and
other
not
is the
that
it,so
effect
of
the
not
cannot
you
that all these
drawing
days,
some
of
colour
of
is
you
secure,
This
above
trees
transitoryand
paint
is to
on.
passage
the
splash
careful
Such
so
to
example
rapidlychanging a
purpose,
become how
effect is
preliminary
wish
only plan
one.
subject you
the
you
It is essential
conditions.
effect.
also
you
drawings
subject
definite
the
in
that
general
a
the
to
forming
grass
merely
large picture,I
a
your
best
your
Nature.
effect is
picture is
the
the
the
sky.
your
possible.
sky.
moment,
commence
aspects the
while
by
the
quantities. The the
is, that
effect
relation
stage than one
you
study
to
the
the
at
branch, for the
you
with
chieflyaffected
are
is
foreground, paint in
salient
according
the
if
one
instance
light of
sky, with
upon
anything
colour
manner
attention
your
about
of the
three
details,the
single painting
whole
the
records
with
brush
big
a
insist
of
shape
For
the
of
remark
paint
begin
trouble
the
paint
picture you
a
not
I
the
that
simplest proportions. Broadly
will, vary
what
But
with
masses
this
and
cannot
you
COLOUR.
another.
lightestyour
course
may,
painting.
are
be
Of
masses
OIL
form
to
will
middle
the
reduced
speaking, it
a
of
mass
describes
trees
subjectmust
are
IN
large things, remembering
the
forms
mass
the
PAINTING
of
subject
composed. same
make
think
ditions con-
pencil such
THE
AFTER
From
the
Painting
FETE.
by
ALFRED
EAST,
A.R.A.
PAINTING
is
energy I know
it
of
greater far
as
to
as
it from the
the
are
say
painting from of
comes
have
mind
how
laid in I
truth
of
I do
values.
by
in
tone
one
the
as
I
same
lower
a
one
in
go
paint
to
of
advantage
Confidence of
the
obtained
by
be
all the
I
high
so
In
Nature
picture,in of
difference
which
course,
per
no
matter o
the be
"A"
"
the
the
has
between
pitch of
to
"
"
to
"
in
lightand
picturemay
I
be,
speak be
Nature.
in Nature
that
pigment
any
key
my
in
A," and
F," all my is 40
Nature, there shade
pose trans-
in
are
lower
to to
it
as
picturemust
If there
F."
shade
the my
reduced
been
lightand
relation
in
are
key,
passage
Say
forced
pitch
of course,
impossible for
am
Nature.
intensityor the
they
A."
the
the
to
same
the
as
with
can
in the
tones
it is
colour,I
in relation
difference
what
of
all colours
between
cent,
40
key
a
that
means
I can,
another
one
in art, it
struck
paint
can
explain
to
the
have
correctly
necessary
I
never
"
have
you
as
played.
other
to
near
I
Nature,
covered
compared
exactlyof
key.
new
as
term as
picture as
relation
same
the
another
to
must
tone, but
long
if it is
use
passage
tune
my
we
my
passage
in the
reach
must,
The
six-footer
your
know
not
glowing sunlight,and
F."
enough
if it is not
nothing
instance, I call the pitch of Nature
it is
almost
spontaneity,one
means
broadly,as As
pitch
by strikinga
lowered For
that
relation
paint
in which
in
of
"
values.
mean
it
to
how
Nature, and
were,
your
canvas,
your
confidence.
gain
you
worth
roughly or
example, if
tone
it well
Nature.
will suppose,
we
now,
your
what
of
be
can
on
wider
consciousness.
You
For
and
knowledge,
the
obviously be travellingbeyond
from
that
is
Nature
qualitieswhich intense
would
painting direct
of
range
that
know
picture;
your
would
I
success.
should
you
but
memory,
painting it
to
of probabilities
that
at
do so, but believe me,
subject prior
your
97
impatience to get
your
effort to
requiresan
knowledge the
Curb
misspent.
NATURE.
FROM
of
my
to
my
tones
per must
cent,
be
picture,
PAINTING
LANDSCAPE
98
do
this moment,
At
meanwhile it has
presented
been
the
the
relation, and back
Step
in
size
made
has
picture should it with
have
put
material are
the
on
before to
open
The
fault of
of medium,
but
is
colour
by
safest it
it
dries
from
the
is not
solid
white
know
you The is
more
quickly by time, and elasticity,
is
it
surface
that
if
elastic
its brittle
zinc
of
dry
flake
than
white
tinue con-
or
the
super-
surface,more
over
slow
a
actual
one.
you
{qw
days,
;
but
hand, surface
the
white, when open
if you it is
it works
is that
yellows
quite hard, to
some
to
it
as
it appears
although
other
the
begin
before
a
or
process
finished
have
zinc, although it
qualitylays it
courses
only superficially so,
on
the
large picture from
a
you
in
the
On
it is
of
difficult to do.
more
in the
you
it is
that
skin.
advantage
while
mislead
may
the
after
dries
Your
of paint inferiority
the
painting
white
on
You
described,
half-dried
or
thoroughly dry
find
will
underneath
underneath.
freely and
it
Flake
again.
quite dry, you
when
way,
dry thoroughly
that
texture
as
indifference
or
details.
generally from
by
be
diminishing
the
is the
tacky
caused
is not
tone.
insist
medium.
fast-dryingpaint
a
carelessness
see
upon
of
case
in
of
will
any,
to
method
which
a
I
exact
prevent cracking,two
arises
upon
which
in
have, I hope, painted
You
regard to
it is wet,
you
of
little,if
the
cracking
the
let
to
work
zinc
follow
of
The
and laying-in,
be
either
cracking
painting.
Nature,
in order
fresh
in particularly
to
"
danger
imposition of
of
and
you,
you
due
and
distance
absence
dry.
very
with
paint
picture while
your
The
brush, and
generous
a
till it is
wait
now
the
of
unaware
you
be
quality
conditions
it is, for the
like Nature
the
advise
always
should
canvas,
your
(if these
find
should
I
gives
from
sixty paces
fiftyor
If
simplest proportions.
colour
of
masses
resulting harmony
observed) how
its
its
high key (and
a
various
pleasantlysurprised to be
subject in
have
finish ; you
yourselfwith
concern
your
expressed
doing so),
your
not
COLOUR.
OIL
IN
has
and use
solid more
more
less
objections.
PAINTING
I
the
use
of
the
have
this
necessary,
be
must
careful
will afterwards
You
of
it
Do
attention
to
thing
simple and
be
afraid, and
slow, is
as
the
do
defective
skill.
of of
of grass
with
your
desired
develop
the a
the
a
final
material.
end. truth
As of
form
as
it
finish,and
picture will
the
finish
were
that
work
bad
A
than
finish
ill-considered
truth
broken
of
paint
you
well the
will
as
colour
evolve
itself,for finish
that
draw.
of colour.
the
brush
that
each
simply
touch towards
serve
brush
You
are,
for the
itself without is
marks
The
surfaces
the
the
foreground
your
to
purpose
various
modelling
contour,
remember
also
shade, of the
light and
treatingit useful
as
of to
contour
Always
some
you
apparently
is
progress
not
closely observing paint thoughtfully,
paintingwith
meaning,
stage, building up of
to
whole
the
possible. Do
as
to
chief
your
Keep
real advance.
a
and
plenty of paint, so
suggest have
if your
hasty
colour, of
trees,
your
must
made
it well
attempt
direct
Still
it.
oil,
tion correc-
picture,keep
spontaneous
have
facts of
big to
and
and
of
of
the
consideration
any
evenly.
superfluous. Then,
is
your
safer
is
little poppy
a
disregarddetails.
hurry ;
Continue
colour
branches
will
not
result
the essentials,the relation
fresh
as
You
the
often
more
portion
ensemble, and
mind.
never
under
not
or
of
which
scar,
recommence
may
top, you
surface
the
down
If
in.
bone
cuttle-fish
all that
this stage
In
part
any
off
the
ugly
an
picture with
possible,you
as
command. or
make
been
have
first rub
from
you
where
can,
that
or
dries
A
If
you
marks
dbauche,
grinds
your
wiping
masses.
your
it
"
oil out
and
brush
a
your
finish
in
the
some
drawbacks.
bottom,
brush
disguise.
since
scraper,
it well
the
lest you
difficult to
"
from
think, has
I
their
white, which
flake
scraping
now
big
as
under
a
must
rubbing with
be
than
employ
to
in
without
making
99
10),which,
obtruding
of
ordinary
NATURE.
p.
dries
off any
excitement
the
use
you
both
white, which
scrape
the
(see
qualitiesof
good
left in
flake white
new
used
FROM
must at
reception Your
effort. climax
this
of
self
LANDSCAPE
100
and
criticisms
with
comparison greatly a an
the
of
matter
and
the
habit
of
looking
finished.
for little
things, be
details
of
are
subordinate
as
whole.
on
If
the
other
hand
though possibly charming trivialities, they because In
with
there
distance
is in
of
texture
the
and
sky
That
fine
a
is
principle holds
same
of
texture
and
the aerial
of
the the
lines the with The than
in
good
distance
You
will
elementary rules
of
linear
landscape painter
land the one
seen,
with is
imaginary more
or
is
not
less
the
it
must
as
not
the
mountains
is
base
the
one
rises
to
The
so.
feel
with
the
sense
actual
mind
in
that
upright diagram
only proof that
coarse
perspective
concerned
an
extreme
knowledge
a
the
bear
mind
the
increases have
not
foreground,
the
than
much
so
great strong line in Nature which
paint
but perspective,
flat, and
diminishing objects
upon
I
it
as
the
petty
in
the
show
changes
course
He
ones.
bear
instance, the
canvas,
of
to
are
landscape itself; I
the
on
them
fret you
sky always gives
smoother
perspective.
as
marks
not
which
the
be
to
and
brush
impression, and
my
useless.
relation
great.
must
remote
surface
difference,expressed
of
of
the
The
highly
than
must
the
expression
is
For
texture.
the
worry
represented,you landscape
foreground.
having
zenith.
material
the
where
perspective of
a
the
feelingof the
the
surfaces
in
are
yourself with
what
appreciationof
your
correctingthe
consistent that
hinder
they
in
in due
may
no
are
details, making
the
concern
you
who
worse
are
placingthem
Nature, and
in
they
If
painter.
reproducethem,
to
service
is
art
satisfactoryand
no
include
great things, which
the
at
the
those
of very
large essential verities, then
the
Aim
estimation
in
Nature, which
will seek
in
relations
Nature
of
in
things
beautiful,he
very
if these
But
small
the
will, in the
result
of
treatment
personal temperament
by
themselves
in
The
and
effects
of
balancing
Nature.
artist is attracted
doubt
of
careful
of
COLOUR.
OIL
IN
PAINTING
which
of is
distance. felt rather
themselves, and
the
AUTUMN
From
IN
the
Painting
THE
by
VALLEY
ALFRED
THE
OF
EAST,
A.R.A.
OUSE.
PAINTING
line
fields appear
the
of
undulations
and
everythingrests,
aspires to strength and The
remember
associated
instance, if in
one
in
autumn
an
their
arise
may
with
the
air
problem
your
try
to
with
deal
observer.
make
your be
of
must
you
recede
white.
have
a
madder, and
of
these
the
set
extreme
You
have
of
of
together
on
the intermediate
distance, but now,
with
repaintedyour practically
not
plenty
not
with
try the
by
means;
of
strong hues
details,may
and
white
golden
transparent
mixed
on
should you
so
broken
of
paint
picture.
do
rose
parent trans-
ochre.
picture (see Chapter III.,
your
distance
aerial
strength,of
of
broken
from
perspective.
hundred
a
by
appear
such
by
The
grades
colour
your
colour
a
your
linear
result
the
and
chromium,
breadth
distance
doubt, but
pigments.
sienna
burnt
same
foreground colour
your
three
they
is, f/ia^
your
Nature, into
of
cadmium
the
have
same
mind
with
reach
in
as
distance
extreme
the
in
Nature," p. 14),not
from
palette. For in
different
broken
are
"Sketching for
cannot
oxide
bear
green
difficulty
equal
an
that
the
at
no difficulties,
You
white, with
emerald All
to
by diluting
foreground, broken, composed
be
be consistent
always
them
addition
lesson
objects occasion
Remote
to
a
a
in
trees, you
it is essential
size
as
both
as
But
both
that, if
reason
For
portray them
to
foreground.
and
for
now,
The
to
plane
them
mately is inti-
this
perspective.
enough
of
objects,and
and
same
easy
paint
you
well
as
perspectivemust
to
stands
between
of colour
reason
the
to
that
influence
remoter
aerial
the
to
It
the
just,
of
on
appears
you
intervenes
truth
relation
atmospheric plane. of
tree
be
will be
when
imaginary
landscape
any
of
must
landscape,it in
right size
dimensions
values
yellow
a
felt in
carefullystudy
must
tone
his
that
this
Upon
iqi.
;
certainty.
lessened
the
upon
be
/
,^
follow.
to
it must
landscape painter
atmosphere
NATURE.
FROM
You
use as
and have
palette.
your
mixed
be
paint in
not
your
very gone
on
so
But your
flat
as
foreground.
little medium, over
most
of
PAINTING
LANDSCAPE
,,!
102
distance, prepared the
middle above
have
all,you
let
Now
painting merely
probably have
will
with
harmonise when
effect
your
the
of
colour of
colour
of
the
clouds
scheme.
You
accept only such
with
character
the
with
the
tint
same
cooler
horizon, and rather
the
of as
above.
But
is
in
or
if
the
clouds
relation
avoid
form
suit your lutely. abso-
if
do
they
and
consistent
the
sky again the
at
warmer
on
the
for
the
them,
are
little
blue
the
reallyneeded,
same
be,
paint
previously,a mix
particular
not
may
must
must
watch
to
harmonise
they
best
will
"
may
work
the
moment
one
may
You
Then
strongly than
more
note
may
you
You
your
which
complete it, and
used
you
ochre.
during
mind,
first
your
still it is better
But
your
day.
"
subject.
yellow
pass
indeed
and
support
as
with
picture you
your
effect
your
left it in
you
your
picture.
of
the
trees, and
the
to
beautiful of
as
forms in
fortunate
how
contours
is
perceive yonder
be
matter
It
that
so
your
you
will
originalfreshness
know
on,
in
it
colour, and,
cloud
relation
in
that
the
suit
not
sky
paint
No
comes
the
broken
composition.
your
be
foreground with
white, toned
you
not
painted
many
point, and
this
to
up
seen
should
trees,
sky.
of
ground
a
"
the
of
which
shadows,
imparted vitalityto
which
speak
me
COLOUR.
your
the
retained
impression
first
OIL
modelled
have
You
thickly painted.
that
the
perhaps
surface, except
the
IN
palette,
your
which
reason
I
already explained.
have
You on.
are
know
You
upon
the
clouds
roll
work;
but
the
occurs
at
trees
which
when
are,
painted a
excitement
it
of
do
great the not
course,
impact
will
it were,
reveal
and
standing
at
hold
know
what
you
hesitate,do
not
flinch.
very
your it
Take
form
you
No
to
means
the
man
in
breath
up
The
tune.
easel.
your
sky sitting. You
moment,
the
shadow It is the
in
sing
coming
that
of
before.
noted
have
you
everything,as of
of
moment
is
which effect,
for your
watch
You
majesticallyforward
You
desire.
ready.
of
mass
crisis
supreme
ever
now
the your
blue
in
PAINTING
and
brush
your
the
draw
clouds.
Watch
tone
where
it shows
and
gradationof
the
and
tone
parts of your
clouds
and
If
the
finished
ochre.
yellow
at
governed I
more
importance,is will remember
the
method Your
feel
of
there
is
give
the
that
you
canvas
a
plan
course,
is to
cloud
and
been
in
rest
on
after many
things
earlier
stage, and
to
If
patch
up
sky.
the It
madder,
adding
this
edge
of
blue
to
begin
end.
bear the
paint
should in mind
sky,
always insane
is
a
able
be
may
blue
be
blue
to one.
sky paint
patch. to
the
ivory
an
a
I
and
favourable,
in
to
Here
It is difficult to
blue.
been
foliage.
layer with
artists
trees.
discussed
point, you
failed
of
point
subject,you
under
will
But
the
I
and
the
be
necessarily
dry. Again
few
should
at
are
your
experience you have
Your
64.)
p.
sky
of
have
the
So
it would
this of
this
in
you to
little
so
rose
must
the
of
to
let it
to
afresh.
of
of
is
Nature
change
order
blue
years which
a
of
other
circumstances.
distance
it all off
begin
a
borderland
brought
blue.
take
they try
some
on
this
conditions
patch
cannot
because
white
a
the
area.
chapter (see p. 54)
measurable
the
its
spective per-
secured
blue,
to
purpose
into
sky
another
probabilityof
no
paletteknife well
in
dealing with
that, if
suggest
better
how
of
with
Skies,"
"
what
and
the
form
now
your
composed
obvious
now,
paint
to
within
are
have
in
The
deliberation,painting them
this
other
of
top of your
properly prepared, the sky
do
picture having
you
grey
and
to
you
You
sympathy
(See chapter on
size
what
You
a
painting, though by
want
more
"
painting be
one
a
proportion
with
of
edge
sense
convey
painted
of all
undersides
in
the
to
distance.
will
is
have
You
modelled
the
under
which
risk out
a
now
at
grey
cobalt
be
be
may
with
with
cloud
extreme
your
the
give
exquisite gradation
landscape below.
sky
picture.
all,but
after
of
the
103
will
the
good sky
a
the
as
form
attention
touches
it
where
truly
which
itself above
picture,to
as
NATURE.
sky,
with
the
colour
FROM
Of
venture
attempt
at
an
picture is dry;
Your Nature
the
to
reach
you
that
the
and
at
the
fact
the
be
of
of
the
the
that
colour !
What
Nature You
which
it
select
character
Although old
from
of
there
Dutch
to
Your
indicated.
up A
make
up
the
those
things
Your who
courses
in
would ;
you
in
not
middle for
would
the
sensation
of leaves, the
have the
"
leaves
the
one
treat
the
on
You the
every
leaf.
distance
think
moment
the
wall
as
not
of a
the
mass.
foliage
separately is built
know
you
the
foliageso of
masses
though they are
like
grief. You
to
suggestionof the
of
sustain
portrayalof
that
dignity
masses.
show
come
lights
realisation
thought otherwise,
have
infinitelyfiner of
cannot
trees
other
indefinite
will
that
have
to
re-reflected
the
give
house
or
upon
of multitudes
bricks, but you individual
reflected
mencing com-
each
more
qualitydepends
aggregation
painting must
and
subtle
benefit
opportunity
picture with
the
just
their
would
the
the
have
style depends mainly
those
is
will
your
which
reveal
to
enough
for
material.
what
indicate
made
so
time,
before
studies
and
effect is maintained.
the
only
find
you
the
as
raining,or
studies
fortunate
are
landscape painters, they
realise
must
enable
considerable
cleared
Here
parts of
variations
are
these
by
which
before, your
weather, you
time
Nature
your
it is
me,
some
sketches
if you
But
quality. As
indefinite
more
for
completely changed
said
careful
such
composition,
had
reference.
as
keenly
colour,
give
now
are
watch
of
your
the
consumed
continued
weather
grass
the component
during
for
grey
I have
As
suitable
of
now
passages
the
and
trees
picture.
comparing
of
period the
policy of making
continuation
and
this
greatest value
the
it to
confidence
rain, and
to
remained
then ?
your
as
of
end
taken
issue.
had
atmosphere
time
the
and
knowledge
and
it out,
thought
commenced
it had
Suppose
the
successful
a
oiled
wasted, but, believe
was
gain
you
have
COLOUR.
OIL
IN
have
you
may
preliminary studies that
of
You
again.
studies
a
PAINTING
LANDSCAPE
104
of
depicting the
tone
of colour,
IN
EVENING
From
the
Painting
THE
by
COTSWOLDS.
ALFRED
EAST,
A.R.A
PAINTING
and
let that
the
trees
them
cows
red
are
composed
and
of
you
with
flat
knowledge
hillside
is
material
at
the
the
convince
the
this
absurd
Nature
subtler
in
all
so
in
natural
of
Although
of
a
with
could
be
he
the
The
writer
be
a
guide
the
which
prize a
is
to
that
or
study
study, and See
I in
for
a
of rushes rushes
the
chapter
on
"
Grass
remember
river
were
"
knows It is
(p. 72).
the
so
same
reproduction
an
competition
a
The
so.
descriptionof
landscape, it on
of
you
imitation
on
mere
faithful
a
to
blue-
or
who
proceed
so
and
purpose.
the
that
literature.
offered
was
say
closer
artist
own
musician
the
submitted
were
careful
faithful
and
his
it to
it
emphasise
to
It is not
the
by
of the
convince
to
that
feet.*
your
the
that
some,
same
find
yellow
a
the
grass.
Nature,
at
I think
evinced
adapt
music,
book
meadow
enough
is
absurd
is
it
;
distant
paint
to
of
paint
you
will
have
that
as
of
all, because
at
You
door
the
of
you
greater knowledge.
can
*
P
blades
green
a
the
added, if necessary,
said
Nature
that
sounds
painterof
was
colour
I have
would
landscapes
the
in
though
detail shows
well
It
localityin
not
notion, promulgated by
things.
method. of
spectator that
knowledge
Nature
few and
same
and
on
not
the
truth
trees
grass
hides, do
you
the
with
that
their
would
of
over
well
At
field
a
up
impression
same
but principle,
the
So
the
is
of
you
nothing
comparison,
"green"
illustrations
Many
of
the
it is identical
grey,
for
as
intervening atmosphere.
render
to
as
length
distant
apparent
effect of
it
arm's
full
hairs, but
cattle
that hold
dapples
shadow
represent.
us
But
green.
know
Under
case.
painting them.
reveal
to
informs
of
the
would
intended
You
fine
of
paint
that
sunshine
and
light
task
the
not
paint it is
the
another
the
shade.
multitudes
of
should
material
and
white,
attempting
time
Our
light and
105
Or, take
resting,and
are
pattern of
the
dream
NATURE.
suggest the material.
some
a
FROM
was
bank.
a
exhibition for
a
prize.
given No
to
doubt
painted, excellently
io6
LANDSCAPE
but
it
not
was
landscapes merit
naturally surprised
were
in
the
the
the
abject ignorance
of
will
be
follow
interestingto his
paints had
he
learnt
rushes,
the
landscapes in that
so
he
those the
at
character the
of
award. of
that would
in
them
Its
supposed which
Nature,
the
done
he
better of
growth
form
It
if
artist
have
any
only
revealed.
was
young
of possibilities
include
painted
painter,and
the
things
of
career
had
who
imitation
spirit. He
the
could
all
COLOUR.
personalityof
that
of
more
OIL
servile
most
particleof
every
IN
and
landscape ;
a
consisted
excluded
PAINTING
when
his
it
was
necessary. Your
picture
superfluous
add
to
beauty
and
all
should
and
the
be
full of
of
your
force
and
the
have
I
direct
they
the
and
wish
So
to
that
to
of
mass
of
to
in
rings
scheme
of
the
dominant
the
of
expression
colour,
painting,
your
be
colour.
and
vital
Nature. the
out
it
tone
must
the
be
when
expression of
is
advantage
painting. who
those
who
of
and
of
studies
making
valuable, then,
How
their
paint
must,
recollection
been
there
that
on
painted
them and
said so
in
are
important
most
necessity,depend
upon
the
truth
direct
from
impressions, for
the
student
at
But
it is
greatest landscapes in spot
only
;
and
achieved
discipline I
it is
also
success
have
painting
advantages accruing
many
advise
of
support
particularmethod.
the the
painted
are
should
I
of
some
curriculum
their
has
and
to
and
it would
convey.
practice,that himself
truth
studio, and
much
Nature,
it, and
when
composition,your
that
aids
as
effects
upon
to
great quality which
convincing
colour
of
finished
individual
picture,and
Nature,
picturesin them,
and
that
be
line
of
your
already pointed
from
studies
dignity of
to
touch
rhythm
personal
note
said
another
and
perfectharmony The
be
may
true
by
that
have the
passing
attempted
to
confine
nevertheless
world
the
to
present
the
from
true, been
not
artists
who
through
describe.
I
the
feel
PAINTING
that
sure
in
highest with
our
had
his
of
reveals
the
power
and
third, the
the
vibrating light and
and
been
so,
could
They
outcome
of
the
is
annotated
little
the
had
he
from
drawn
wonderful
appreciation but
trouble,
It
is
stages
of
reason
not
so
saved
goal,
in
from the
He
spared
ideal
his
right
express
to
rule, and
to
maxim
tedious their other
the
goal
for
innate
the never
better
was
most
;
capacity of
departments inclination would
be
study
to sooner
ideal. there
was
for
others,
for
grasping
life ?
stray from reached.
And
the
the
case
nor
and
constant
ment develop-
he
in
not
any
life
in
be
must
But
beginners that
serve
perhaps
essentials.
path
he
passed,
will
so,
the
By
service
less
if
most
time
life, his
This
verified.
scientiousness con-
landscape painter.
who a
the
subjects, which
which
He
so
examine
we
actualities.
of
they
His
the
artistic
realism, through
on
were
study,
neither
the
to
most
expressed
realised
through
in
Had
memory.
which
lying
These
careful
complex
and
fitted
and
of
materialism
is
long
and
in
the
spot.
others
in
that,
country
have
the
and
sea,
clearlywhen
more
indispensable
note
the
careful
the
this
his
the
the
Crossing
picture
daylight. on
pencil
"
or
first of
instance,
conveying
the
earned not
us
beauty.
is
of
receptive
and
express
to
based
of
of
which
interesting was
which
to
strove
persistent study
to
Nature,
majesty
profound
and
in
sketches
the
probability,
of
home
brought
In
done
all
For
Shipwreck,"
broad
been
result
sketching.
summer,
of
powerful
most
a
of
in
of
outlook
heat
not,
were
himself
and
wide
have
not,
thoroughly acquainted
Baiae."
effects
would
they
much.
and
subtle
stand
The
"
Bay
second
not,
in
pictures
which
practice
constant
the
beautiful
not
107
the
painted
he
The
or
accurately
have
greatness
"
Brook,"
artist
esteem,
his
recognise
the
not
by
Nature
we
would
Turner
NATURE.
FROM
is
could
leads
by
to
it
be the
Printed by
Limited,
Company,
Cassell and
Belle
La
Sadvage,
E.C, Hill,
LuDGATE
London,
22.207
^