The Theory and Practice of Landscape Painting in Water-coloursRoutledge, Warne and Routledge, 1861 - 286 pages |
Contents
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Other editions - View all
The Theory and Practice of Landscape Painting in Water Colours: Illustrated ... George Barnard No preview available - 2017 |
The Theory and Practice of Landscape Painting in Water Colours: Illustrated ... George Barnard No preview available - 2014 |
The Theory and Practice of Landscape Painting in Water Colours: Illustrated ... George Barnard No preview available - 2015 |
Common terms and phrases
accidental colour aerial aerial perspective appear arrangement artist attention beautiful breadth bright brilliant brown madder brown pink brush burnt sienna cadmium character chiaroscuro clouds complementary colour contrast cool crimson lake dark degree delicate drawing edges effect employed figures foliage foreground French blue gamboge give gradated gray greatest green ground harmony hues imitate important Indian red Indian yellow indigo landscape light and shade light red lines look middle distance mode mountains nature neutral objects observed opaque orange outline painter painting passing picture pigments placed Plate portion position produced proportions Prussian blue pure purple madder qualities quantity raw sienna rays reflected represent rich rocks rose madder rubbed russet scene seen sepia shadow side sketch stippling student sunlight surface tints tone touch transparent trees Vandyke brown varied variety Venetian red washes water-colour white paper whole yellow ochre
Popular passages
Page 218 - It is indisputably evident that a great part of every man's life must be employed in collecting materials for the exercise of genius. Invention, strictly speaking, is little more than a new combination of those images which have been previously gathered and deposited in the memory: nothing can be made of nothing: he who has laid up no materials, can produce no combination.
Page 232 - A rainbow can only occur when the clouds containing or depositing the rain are opposite to the sun, — and in the evening the rainbow is in the east, and in the morning in the west ; and as our heavy rains, in this climate, are usually brought by the westerly wind, a...
Page 4 - On the contrary, he who recurs to nature, at every recurrence renews his strength. The rules of art he is never likely to forget; they are few and simple; but nature is refined, subtle, and infinitely various, beyond the power and retention of memory; it is necessary, therefore, to have continual recourse to her. In this intercourse there is no end of his improvement; the longer he lives, the nearer he approaches to the true and perfect idea of art.
Page 27 - This colour, which is called the accidental colour of red, will gradually fade away. The bluish green image of the wafer is called an ocular spectrum, because it is impressed on the eye, and may be carried about with it for a short time. If we make the preceding experiment with differently coloured wafers, we shall obtain ocular spectra whose colours vary with the colour of the wafer employed, as in the following table. Colour of the Wafer. -^"'-'"""oSlS-s^ctri"1--
Page 213 - Who first beholds the Alps — that mighty chain Of Mountains, stretching on from east to west, So massive, yet so shadowy, so ethereal, As to belong rather to Heaven than Earth — But instantly receives into his soul A sense, a feeling that he loses not, A something that informs him 't is a moment Whence he may date henceforward and for ever ? To me they seem'd the barriers of a World, Saying, Thus far, no farther ! and as o'er 1 LaCrgoe.
Page 99 - Among others, he had a habit of continually remarking to those who happened to be about him, whatever peculiarity of countenance, whatever accidental combination of figures, or happy effects of light and shadow, occurred in prospects, in the sky, in walking the streets, or in company. If, in his walks, he found a character that he liked, and whose attendance was to be obtained, he ordered him to his house : and from the fields he brought into his painting-room stumps of trees, weeds, and animals...
Page 231 - ... complete semicircle, if the rain-cloud is sufficiently extensive to display it. Its extent diminishes as the solar altitude increases, because the coloured arch is a portion of a circle whose centre is a point in the sky directly opposite to the sun. Above the height of 45° the primary bow is invisible, and hence, in our climate, the rainbow is not seen in summer about the middle of the day. In peculiar positions a complete circle may be beheld, as when the shower is on a mountain, and the spectator...
Page 97 - Aided by black, it to the front aspires, That aid withdrawn, it distantly retires ; But black unmix'd, of darkest midnight hue, Still calls each object nearer to the view.
Page 208 - It is as if a million of rockets were shot off in one shaft into the air, and then descended together, some of. them breaking at every point in the descent, and all streaming down in a combination of meteors. So the streams in this fall, where it springs into the air, separate and hold their own as long as possible, and then burst into rockets of foam, dropping down at first heavily, as if determined to reach the ground unbroken, and then dissolving into showers of mist, so gracefully, so beautifully,...
Page 146 - ... operator. Far greater detail and precision accordingly appear. Every button is seen — piles of stratified flounces in most accurate drawing are there, — what was at first only suggestion is now all careful making out, — but the likeness to Rembrandt and Reynolds is gone ! There is no mystery in this. The first principle in art is that the most important part of a picture should be best done.