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A MANUAL OF OIL PAINTING this is a free e-book from www.forgottenbooks.org the first 15 pages are high-quality, all other pages are low quality. The vertical black lines appearing on most pages are deliberate. This is required to stop people from selling printed copies of our e-books.
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A f\,fANUAL
OF
OIL
PAINTI
G.
THE HON. JOHN COLLIER.
SECOND L€DITJOK.
CAS S ELL & C 0 1\ I P j\ X Y j L ~[I TED :
I.OXDO,Y, PARIS, ,'\'E (V ~·ON.t..,. &. AJELBO RA'E.
leSj.
I ALL RIeHl'S RESlJr_ \'11.0), J
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A ~1ANUAI.I OF OIL
',,,
~jnrt t.
PRACTICE.
INTING.
THE art of painting in oils is a very di cult one, and not the least of its difficulties consists in the great uncertainty that exists as to the proper nethods to be pursued. As a rule the great painters lave been too much occupied with their painting to xplain to the world how their effects have been prod ccd. Indeed, it would seem that they have not lways known themselves j fOT when they have thcor sed upon the subject their theories have been often quite irrccorr= cilab!e with their practice.
Fortunately, they have generally h d pupils who have carried on the tradition of their asters' work, and on the Continent this excellent sy tern is still in force at the present day, for most of th great foreign painters think it their duty to give up a certain amount of their time to teaching, with ut any other reward than the additional fame confe red on them by the successes of their pupils.
FOT so_me reason or other this prae icc is almost unknown in England, Our English pai ters have no B
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2
A 3-IANUAL OF OIL }}.AI TING.
pupils, so the experience they ha e so laboriously acquired for themselves is of no p ofit to others. It is true that the schools of the R yal Academy are visited in turn by some of the Aca emicians, but the utmost that a student can hope t gain from these visits is a confused jumble of t least a dozen different methods.
Nor is there much enlightenrn nt to be gained from books. It is a rnelancholy fa t that more nonsense can be talked about art that about any other subject, and writers of treatises on ainting, from the great Leonardo downwards, have ot been slow to avail themselves of this privilege. The student who attempts to model his practice on t eir precepts must inevitably arrive at the most disastr us results.
I am aware that after having aid this it must seem the height of folly to add another to these treatises; but I have a firm convi rion, in spite of all experience, that it is possible t apply ordinary common sense to these matters, and I mean to try to do so.
First of all it may be as welt 0 Jay down, with some attempt at precision) the 0 ject the student should have in view.
To whatever use he may me n to put his art eventually, the one thing that he has to learn as a studen; is how to represent faithful y any object that he has before him. The man who can do this is a painter, the man who. cannot do i is not one. Of course there is more to be done in ainttng than this, but once this power has been att ined the student
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PRACTICE.
3
stage is at an end-the workman has learnt his cr ft, he has become a painter.
Of course, having got so far he may fail to ap ly his knowledge to any good purpose, but at least he means of expression are ready to his hand.
This representation of natural objects by me ns of pigments on a flat surface is a very definite mat er, and most people are competent to judge of the t ith or falsehood of such a representation) if they are fa rly put in a position to do so; even the student him elf can be a good judge of the success of his own w rk if he will make due allowance for his natural pa tiality for it.
There is, after all, nothing so very mysterious in the matter, Every natural object appears to us sort of pattern of different shades and colours. task of the artist is so to arrange his shades colours on his canvas that a similar pattern is duced. If this be well done the effect On the eye be almost identical. As far as seeing is concer ed, the two things, the object and the picture, will be alike; they will be absolutely different to the se se of touch, or indeed to any other sense, but to he sense of sight they will be practically identical.
I am sorry to say anything that may diminish he awe with which the outside public regards my rofession, but instead of finding it (as many wor hy persons 00) almost miraculous that a perfect re re~· sentation should be made on a flat surface of s lid objects, I have always wondered why it should b SO difficult.
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4
VAL OF OIL PAI~TING.
Let us state t e problem once again-s-
Whenever we look at a scene we have a patchwork of shades nd colours floating before our eyes, and this in fact ·s the scene; we have to place on canvas similar patches, similar in form, position, colour, and intc sity, It ought not to be difficult; anyone who can judge if two colours and two forms arc alike ought to be able to paint an accurate picture of anythi g that he has before him. And yet it undoubtedly is difficult-so difficult that a long and laborious course of study is needed before even the most gifted can achieve a real proficiency in this elementary part f their art
Unfortunatel ) in England at the present day) a student is left vc much to his own resources when he enters upon t at most difficult part of his studies which comprises the practice of painting as distinguished from hat of drawing. In most of the art schools now in xistence it is easy to get good instruction in drav ing, but the teaching of painting is mostly very inad quate, The painter who knows his business will not} with some few exceptions, waste his time in giving i truction, and the instruction to be gained from a pa nter who does not know his business is worse than use ess,
If by any me ns the student can obtain personal instruction from competent painter he will not need this handbook n any other; but if he cannot I will cndca your to sh w how he rna}' .. to a great exten t, teach himself
In the first pi cc, it is necessary to have Some: sort
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5
of method, both as to the rou ine of study an d as to the technical processes to be e ploycdv: With regard to techn iquc, [ shall describe very slrn ple system of painting which I recommend the student to try j but as it frequently happens that a method which suits One man does not suit anoth r, I shall give a short account of some other met ods, in the hope that amongst them the student w 11 find the one that is best suited to his talent.
And first as to the routin of study. 1 start by supposing that the student I as already acquired a fair knowledge of drawing; t ere is no lack of good teaching of drawing in Englan J 50 there is no excuse for incompetence in this matte .
By good drawing [ mean a power of accurately portraying the shapes and pos tion of things, but it is not at all necessary to have an specialdexterity with the pencil, In oil painting t1 e original drawing may be clumsy, untidy, vacillating in short, have every possible fau1 t of execution; b t as long as it is substantially accurate it will s rve its purpose, Of course, there is no advantage i clumsiness; it simply does not matter. There is one general principle which I think may be of sc ice in drawing. The painter should always train imself to seize first on the more important points of he object he is depict .. ing, and then go on to the 1 ss important points in turn.
First of all, he should fix the position of the object he is drawing with rega d to the other objects in the picture, then he shou1d determine its relative
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G
A MANUAL OF OIL rAINT[t\G.
size, then its shape, the the proportions of its parts, and finally its minute etai!s.
In the case of a st dent who is able to make a fairly accurate-if sorn what bunglin g--draw Lng, the COUrse of study I shoul recommend is this; he should begin by what is calle "still life;" that is, he should carefully make an ana gement of some simple objects which are not liable t any change in appearance; it matters very little \ -hat they are as long as they conform to this 'rule, vhich, of course, excludes all living things. Perhaps hina and pots and pans make the best preliminary xerciscs, care being taken to avoid any elaborate pat erns, or anything in which the detail is intricate. Th sc objects should be arranged with some simple back round behind them, and in as steady a light as poss ble-that is, a light that remains practically the same from day to day, and from hour to hour. rOOIn with a north window is best; if there are other windows in the room .. they can be blocked p. Should there be no convenient room with a n rth window in it, some room can always be found in which the light is steady for a part of the day, and the painting should only be done during this p rt of the day. Even with a north window a gre t deal of inconvenience can arise if there be any uHding in front of it which can reflect the sunli ht ; this should be carefully taken into considerat on in choosing the painting room. Of course, it is better in every way to have a regular studio; but jt is not every beginner who can indulge in such luxury, whereas a room in
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PRACTIC
7
which it is possible to paint an be found in every house. There is one other t ling to be considered in the choice of a room: it m st not be too small. I t is essential that the painter hould be able to see his work from a good distance. The kind of window matters very little as long as th light is steady. The window can be high Or low, big t small ; a light from above is in some ways best, ut it can very wen be: dispensed with; and a very sm 11 window gives Hght enough to paint by if the pai ting be brought close enough to it.
The way in which the objec is 1it up is comparatively unimportant as long a the lighting remains the same. Any kind of light and shade is good for study, but it is very important hat there should be a good light on the picture. If n oil picture be turned towards the light it gets what s called a shine-that is, it reflects the window, Of curse, if it be too much turned away it does not have 1 ght enough on it, so it must be turned sideways with egard to the window, unless, indeed, the light comes 'ery much from above, in which case it can be placed in almost any position -which LS one of the advantag s of a top light.
It is, therefore, the lighting f the picture that has to be chiefly considered in a nging the position of the H sHU life." I shall point out, later on, how important it is that the picture hould be often placed side by side with the object, an then looked at from some distance; consequently, t e object should be so arranged that when this is don the picture receives a good light.
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8
A MANUAL OF OIL PAl rrtxo,
And now a word as to the m terials to be used.
A stretched canvas is on the wh lc the most convenient thing to paint on ; it shou d neither be very rough nor very smooth, nor should t be of too small a size; about :24 x 20 inches is a go d size for studies. On canvases much smaller than th s the work is apt to be niggling, but they may be as I uch larger as the ambition of the painter may suggest. In many ways it is better that the study should be of the same size as the object, but it is not essen 41. The painter should always; if possible, stand u to his work; so the easel must be tall and substantial. As it is important that the picture should be crpcndicular, the common three-legged easels which slope backwards should be avoided. It is also i portant that the picture should be readily moved up nd down, so that any part which is being worked at may be kept at a level with the eye. Thc " still li£;,'l also. should be placed more or Jess on a level with te eye.
The preliminary drawing shoul be made with charcoal. There is no other rnateri 1 that gives such freedom of execution and such facili y of correction.
To begin the drawing, the easel should be placed at some distance from the object, a d the draughtsman should stand as far from his anvas as is consistent with the power of drawing n it. He should practise drawing with an outstretch d arm, and every now and then should step backwar s to judge better of the effect. Indeed, there is no rn re useful general rule in painting' than this; that the p inter should continually look at his picture from as f. r off as possible.
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PRACTICE.
9
From time to time the picture hould be placed side by side with the object, so t at they can be looked at together from the end of he room. This is supposing the picture to be of t e size of life; if it be under Iife-size it should be pla cd at that point in front of the object: where they b th appear of the same size when looked at from the end of the room. When the two, picture and object, a e tl1US seen side by side, it must be a very dull eye that cannot distinguish inaccuracies.
This is the most potent aid to s If-improvement j by continually resorting to this me hod the student can be his own teacher, and correc his own faults. It should be employed from time to time throughout the whole progress of the paintinb• Indeed, H is quite possible to leave the canvas crmanently side by side with the object, and to wal backwards and forwards from the end of the room uring the whoIe course of the painting, giving a to ch or two at a time) and always going back to se if it be right. This method is much less tedious than it seems; and that it is capable of giving' goo results is abundantly proved by the fact that Sir J in Millais never paints in any other way. So if an student like to take it up he can he sure that it will not be the fault of his method if he fail to take the highest rank in his profession, Nevertheless, J think the modification of jt that I suggest will be found more generally convenient j that is, that the painter hould habitually work a good way off from the object, but should from time to time place his picture side by side with it,
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10
and t.a.ntc. As a. furth
iSJ there is a c askew: ut \\ the obl uity eye the mor c usto m . to i . For j a line hich sh uld inc line ( et Us sa. ) 3. nOI nod d n 0
it. and t s J I lin
pcrp end cuJar u t j
appears nclin n g to
even m the
Qui apil t fresh vi wof
rcnC\\'e
or to get
tecting in large up m, in SUt object can
tha.t it at
g-glass . to de
r the head 0 0 bliq ult de n cy to d r w thing~ awings arc cen in t revers ed j and stri o more it as beco
ance, the p . nter in
perpendlcu 1 has
to the left. If the -e soon ge accu sto
lining a ll e to the lcokiug-gl So this
ght. a nd co seq uentl endicular t an it real the ad va n age of h such as t e 100ki In painting it fatnl ten ency to
H IN. There 19 nothi
rent poi n t of view gi ve
s pictorial e nscience,
ing a. dra -ing is
t in and
line
o lBIB FDlJ'Dllm Boou -.~ob.DI1
I II
11
is 5<Jm be bl aU be
In or e to do this w th mo precislon it ded t ha t the dr ~ing should
I) it i called-a-t at is, t it should
wn igb H n es, cu ed port on s and R 11,
ent ally obta i ed by und i ng 0 ff
the a.p es.
I t ink m s very d ti eren t y should be dr ~
end~ring of rvature but should be sitions are d out and the mi 110r sin osi ties j ng put in,
th roughly s t died w h regard 10 tu . Any s 'ght 1 nes may as shu Id never disdaLn any Rid to t is; possi le, act 1 mea SUI"C!" t is, ge emily f revery line
ed. E v foresh ened l in es
may TaU
of the
that aJly u dicular and \ hI parts. But, s
•
be rOD d nee ss
accura to b side wi h the b
ther lines
re perpenOver- other ill scarcely self of the vas side by
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T II
rna. n Ii es ha'\i
in his. In er I the harco
bru cd off (eith r \ lth it on: ~ t flip ing the can s), and t c lin s C3r fully race \Vi h b n or b t1ui with tu pent ne, he lin bein an not too ain t, y fi cou e jt is very . mp rtant 0 ha m t of 001 u rs, n t C choi of ha\ to be b me n m ud ;-
i'"jrstly,t t co au must per
it matt rs ve y 'i tie wh. thee t e
cffo s be lnte wit pc anent
h
12
inting 0 proper 5SO r . i h three hin s
olo rs mu be
ixi Rg) eri g alit
et with in N hirdly, hey ut with the fo
o ens th Eh fi
tho ughl a.t bin tions.. think t
ble, wit lI, the t nts
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13
perf t1y pr::rma en t as ving a rich and t10n of oobal t and usef I in fI esh- t nts, ..._ ...... ......,._ ... ity for sing o far, my lette of i ng the On Usc
I have ken
•
occurring
v; and tb
m-
m
Lhi n ~ neverthcl §j t t 1 m . These ra Alt ough a ti t ca
whl shall fair
con cnlent in grc that I Dee cadmium
et it is so row and itho t it, t it vould
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particula rl
u.
e 'Ca.fI l rc Qr br lliancy t tim racy r There is no t ly exp rim t to be
• th I:: udent In
ly a tin in N atu some in 'ii table 1
lain th:t rn y list 'ith t a. y rate.
rs i I h order in which I ich I ha .. urse, the
prae • ee, u t, of
\ Ii tle j but
n me t, and of dip ing the is mu h more
in rapid an
Il. e chei e of he pal ance, It sh uld be ih er large tha sm al l, b large s to b ti ing 0 ho d.
me ki d of me t be us
and the hoi
of cop al, F. nsecd-oi ncral p TpOSCS:. I propo ions of a ired to ry q uic.kl diminish •
th
~rpen ti I c, is l.C be m xed i unless he pi tu the lin eed ~1 heul
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15
~to
ents.
stud IOU sly a voi ded in the t here iSh oth j ns: more Ii ely yle in i l painting than in suffic ·
thi , b t in nothing else, the p He should a I so be warn ed int with the half-dry remai
ulat on the paJette. Some adder, remain in a 6t
. ng been On the palett become sticky in a da
as he are in this st ate: they sh
y~ C lours can be kept rnois lit ing them in water, but as a bi e to do thj~
ble eco amy cant however, be cby alw ys clean in It them on eself A
e zm n FDlJ'Dllm Boou
paint brush \ i l last a lon
soon after it h s been u ing them is 0 put ali tt1 hand i);fl d to ,.; ork th e them ou t i deratel time. \V he hey are fi
t h~y should well rin
get rid of th and any str preserve the ina modera l warm p] c
\Ve will 0 ~ su pposc
shall we p to pain
The first ing to be
the Qbj ect, to put
proper plac i thou t th
or cxt:cu ti on;. nd the c the palcttc-k . c, m i x----.t
-il tint co S ending t
object .. and t hold up
this patch of lour and
com pari son j t in sue
nove ry bad tch Can
will p reba b 1 e 1 ud icro
must be mo i ed agili n nd a
success IS ~ ed at. whi h is on
end of the a ctte-knlfc n ha r rom the pa h of colour n fron The pai nt sold then dabb place on th it is of the
produc ion
Bes des j ng ted ious, the
d i fficu 1 ie! \ph ich C8 n 0 Iy exerci 0 OOn !'iidc.r able ere. once t at t e tjnt on th much Or aw Ca.I1'~S she
light, t s ciently turn
shine rrom 3.p
(This must m
a da.b Or too e palette .. kn i ~ sh I with its sur ace or the pic rc ; ir the CO knife J i position t they a pI 00 en t he can as match ~ t is obvious hat i
the rna chi can only gi tal
17
O'U r be suffici ntl i ng th rgugh. Th· 0 e.,ery consi d ub de in the Db ccl vas is com plet ly rt or mosa ie, ood idea 0 f tI,
at
tul 3 unirorm the in a fairly str nO' the wi ndO\ to
ce a ched wit h he k he same w en d d whilst bing nOlth!!
rst
1M A M NUAL Of"
throu On far
he around
gro und be co ctcly hid
them 0 th.i del that Yi"e ea
to be orrec I. The mod i nderne h showing very rious, hut I . For e present olour Id thinly 0 a colder i.t:., bl u -lh an it
th in t of c lou r on a i
day's nting s at an c no t to a. ve the paint too r the lea ore advan the pai t rou I y when a an d B oothly ~ hen the smooth; but f; r the pres these b btleties Nor she ul
they u Id pro bly have
slightl in the nishing, an trou bl orne thi g to al ter ; ou I d be a little bl
n
y
orange uc, 'Vb nthe y's painti in the s n, or in f1 ken not to put it
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There ,. ru be '\0 dange of fou r to fi re ree t r rom cv
the oil bubb e u
is a distance: 0 fro
err 5 ran G: fi rc. en \\" hen we ha v of our pict t:u -0 work on
his i one of the _
3. lime; gtnners. an oil
Unl
go on with n y plan to a t U this is certa. n 1 y a general lei 1" ing un]~S$; i is ry exe epti na) ore ra tal t ian
len it is a ainting day aft alnt a bit 0 it cod method for ne s ould never wet or quit
cella in ex nt, ion or oi i the mcdiu . ulte dry furtherr oul d be b ed OVCr Hg t ly round tha in
in w
20 A ~t VAL or U[L Al~ It-:(.i.
should
oor r pal lug on, lc b side wnh
~ om time to time, glass as ans or fu ther ref . i \V hen the g n era tone a pp car u itc
should oug t a a.y rroru the
larger det Ml0 1<1 put i UJ he
fully drat ith ny bush tha
the rule I 1 0 bein ohse rv
shou Id no rever a
at nee w h c e pai tcr come
shou d be lef tOI~ es COrTtX tCt. now sed quit e pain er shoul lU..I of the room to. th l(1oking h i,~ uJgtn en "ght t
I.;ject
jog care prlate all bra"
n ary h
une ve sud ace paint should b
c firs .
all
tex t rc al Wit) a. p . ars I n ly e thoro . h] rend
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II II
E. 21
vcry c:arerU hercver
rs quite sh rp this
e of pai II t. b t t is In
Id be paintc s arply
urc ; draper cs have
but. of cours ~ he d
ess ,,-a.ry J
ld be earcfu I
tone as
J
bum nmm to j masim~:: I
Hne hen it nows that
OIlS i a ten ency j) gainst ,If
parti ularly n his gU4lrd.
l.lring t e progress 0 t se su intings
the s udyo ht to be gr:.. 'U ly get in like the
objec j unti at I ast, \ .... he. laced. "d
the 0 ject. d looked at
it oe ht, at rst sigll t, to
whic • Ev for !l b.:gin
sible LO pro u a pi t
be a tonishi gIy like any :;, pic 0 ~ ~ indeed,
he m ~t pc \~ere until it IS Eke for if it
look arke y unlike it 11 ny l' e ought
to be able see where e dis ,and to
cor tit ac rdjngiy.
T c stu should be
looks so rro the end of t c m.
large size th is com pa tibl
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I I I I I I or ey tan dcg e:s or d ral I y used to bigu s ; but in u ng« to 'l to ex p to e press c J u r Or h u
of a object a dsrk
rOT d rk) in t ret b=:. propos m ea j ngs for
r the tw diflie lt of it
l'" on.. l-'A [:ri~flN(-
]jttle more
and
I ions on uce think ng of 0 t hei r rue col In fa t the
e zm n FDlJ'Dllm Boo I
-.~ob.DI1
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r rom thcr obj to 1I~ Its 11gh .a esse n irll, pccu 1 i rl · C J and I being of corn
small i In portan. t s, are habitua l'y isr a
all \11'] 0 are not 50 much so t at lh n tural
tendc c y of .c hi] en they begin to p
lea ve out the alt oget he: t, a l d ,
a unirorm CO t 0 \V~ k now bet cr t this tendenc ha
curious \ 0 hat ha rei I)' any bcgi
his s had w rl y dark enou h.
requi s '}rea.rs 0 t:l.1 i it before we ar true d pth of sh 'W t at n light objec ngr
n that, bout
ley very valuable N re lien t the eye frol patches or
the
is in r
palct t - kui fe mel 10 of m tal prejudi d judgm la te j uxta
m 3. t ter a little m the book; bu t it \V it helps to j (iry omrnend,
this aitem deed
e zm n FDlJ'Dllm Boou I
-.~ob.lII1
I I I
with a litl1c s ill the most ch co] ou r can be produced 0 ut 0
and I lnd eed I is should be pa to sec w hal ccrnbinatio 115 harmonious a d what 3 re d ise no rules can gj ven to gu i c hi q uc stion of armo ny; he u t
hi nat ions, :L n not be contc t un . \ thing wh it h te rccl!ii at one: contin u al stri i ng after beau y
refine mcnt 0 tas te and cc l least) if it d J10tj Lt is pro r not the artls ic spirt t~ and h o nergi C$ to ~ C orher pursu i
\Vhen th st udent can h that his stud es of still life t ro he had bette r begin the prac t c of la the 5'C rt of 1 ndscape he sho l most rcsern bl the work he h that ls, he sould take MJI u nne r the si plest possible e tha t can be t sted to remaJ together,
For i nst ce, he shou ld and only wor at it when the ~
pai n tint::: whe ever the su n to of sun light ust not be a tic 11 for it is not n Iy difficu]t on a.
the eye, but js a lso a terri I 0
la w of reas a ble permanen shad ow j t th W~ is CCn ti nual
T and orm ;J nfo unatel Ihi difficu
himse ceurat . An
b t of ld wa • g ey, I ving 0 t, The pain tin
r r a ] ng tim t of its dau:1 in
cr a e ect, g ng its positi
e In n FDlJ'Dllm Boow..:.
II I I
Fortuna tel
~y grc oays i Enel d,
of 0 ppo un t}' r Or lands ape to a begi ne .
of ,vor shou Id uch t
that pursu j the pai ting or till life.
be more d ffi ulty in matching th tint with the palette-k nili ! the swill gen ral y be fi und t be so brir.;h t t t no paint can qui te re der i hnnl OUS q uali ty ; bu lrnost C~ ryth j ng he c an p rly matched, a d his shnu d always b d one when Vel'
practic able. ' he ean v s S hou Id be pi ac well out
in the ope ir, and hould ne b sh d b
u mbrella, w i Is rea lion ty n ing or sun ig t, In f; ct, the
In uch the 9: ! ight the obj t~ Som
n ienee mit b caused by the 11 ht shi ni the canvas, if th c sky every b ig t bch j
course, this c always e rem ed j d Y pu t
lhiQg behin t c tanya. A nc per d
as an y thi n SCI and has th e t ad
bet ng casil p u ra ble.
\Vith a] ur p lions in
subject, an nly wor ing in g found that n th l ng ou -of-decrs colo ur and 0 e in a v IY perpl
obvio usly u el to e
an d tin ts c ti me tl at the la ds
ent to USJ i is as well t be very ca
t hesn at 11 rs , not rrecting th
qu i tc con vi tha t t cy were
ginning. the tope should
_. foraDltm1.noh.DI1
II . _. ,.-----
at trees a
sl no pain t the will c abso bel in stru weal h or d tail peescnt and is atte lion will tone - and. ti tts which S lOU
stud. He should avoi they chang too m uc h; an
dab ate d "tant views, ifferen way~ as th y r Jl ng unosphcric to it ions in t e [0 round. Th re . t besi cult of aer al perspect 11 ich
as ] n lain ti r u C' the stil changeab
pi
best for
st b inni rubs t but, close, Or al with the u
lS erg cs an g~ Ie
d. oug , elat ve
Q [ect of
"lJ
with is har , this rspec ive unde
time, but r or whic the I shall have some ing t late 0 i as the diffieult s or ood. d eat sm om he 1 by
Ccoun e a:i i. dis antly con Or bla k c pecia.ly e the lan ture ; but icult e fee sible, the d she d f
ors, are som elim 5 c r
ight is \'cry st i ~
n until it looks
IC: wi I do rce ly be needed m ted.
:S ou ld stand up his
time look at it II m a distance th at it 1 oks r landscape that e is
~ mple an scapes seen und
li It hal; ell fairly master
wei J 0 P ceed t' t e study or fig urcs,
neces ita te muc eo accu rate d r311
t ha n the previo s ud ies, SO the stu baek 10 is dliU 'i n for a wh i lc bcfo
the iffic it t as pain ling the hu an
t is ot t t the d wing of fig .... res s In
d fficu It hat he d ra \v1ng or nym adc fo r the fact hat d, ca 11 keep per Ii ct J}'
hu man fi n;: is so much tt.cr
us ny cth r bjcctsl that very ~ a II
zm n FDlJ'Dllm Boou I
NUAL OF 0 T. rA 1 xrt
present a. t ion f) r it are It. re yc. An er r of pro rtion, ~ a. rna. ter of ind i ff'e.t nee in II r wing b sufficien t in ru W'ing th hurna
A ef ormed r] ppl c
1 j mi ted rt§O rces at ou J d isp P ace we must av "1 ourselv or or the irccks by st dy.ng thcl stat the c t g t th human ron at its st-fa tha we sh 11 c er ~c it in th life j so t ere ca
e zm n FDlJ'Dllm Boou
I II
b er trai i ng in the disc i nil nati 1
a bea ut ful in men a nd vomen
or drnwin s from casts of antique
But 0 r t ra in ing rnus not en rnu st go
to ""ork i the same wa lhat t e reeks did, and men a d vorn en U nfortu ately, t e men ant! w nen wh a . avail ble to us as mode I s re mos tly or t very j C I" ty to those spend id c ea tures frnrn \ lorn the G iek s til I1CS were ca ved i s ll, if \1.""C take rou b le gh, w ca n get m nand \ men to work from ~I I C'·utly '~]I~ made
n to dis case even a til tc mild c tical '" study
of the an iq .... c. I think il is n while to
, rk fro rn modcl:t woo pos it cIt j::s a d~ gerous t hi n S' to the a. ist to u gl iness ny fen. As I ave said) it is
~
e shall never
man y figu res m w ha ough t alwa G eek stat es.
fraid I cann quit t
to ching pen a prej u d ce tha t so e wort y people tl ga.i st the rn dcls,
J n the ,'Ii rst plaee, I posl11 1 y that
' ..... i hout st dy (rom the n de the 0 sen us ligurc
p. n ting MSt ble, If tb :1 rt tal .. a con ientious
o icetions to thi~ kind of study h ust eo fine himsc r to 1 an sea pes. and st ill i ((:. t 3tter~ not what
kid or u rc- p le tures e w ishe he will
t
e zm n FDlJ'Dllm OOU II II
29
s healthy
r taking I but we too fat ani-the
su hjec without ms to exist in or nude
JO
PAT"
r be
p
therwise, n less nurse of ·t udy fi of diffi~ t draug res, it . dvisable 0 put lh canvas fi st and t [ n to ad
ugh iii. ndeed, raped upon Tltis
is $U pai tcr, w C rna y of tlu ing th are
o even t most
he rcco lects the studi
ffae ue's os t eel bra te
ra ll5figur lion) J j n nude. • c u lty ex sts in tee
art, but I think it may· els lrin patti;:)] I d. ra y time at the Sla e Se
or ladi s who fairly ct by j as \ as the t T some larl y sh kin g malt: odels, and 1 or
pcrso n.~ i a. ppea.rs part ie tha womc hould M dy from nude I h ve n ev r been able to under tan d am oonscq
con se the is neve any n
ell to . t y from t nude n (on u· on, 1 t m y be sa Jy sa
so hjng e en tiall y fa lse an u ('I.]
g tha t e human body is n itsc
tiona I e an d the QJle r eery 1
f this ing the tter.
I thou hit is no t trict! y i thin It! F rev nee of
th is hand b J yet it 3: y be a \\+(:IJ 0 B j \Ie il relY
as to h sort of d w j ng t t is I""C"I'I"'-'-" a.lly useful as prepa t on to the ractice r figu pai nt i g.
that ist fOT picture (inall the figures
that t ere IS .;I.lthy j the indccc t and er of a gets
e zm n FDlJ'Dllm Boou
I II
3' tippling, olutcly odtllcdt simplest
eron g I IX rnmcnd that the
be don with I 1 sump. he cftcct
1 ke that foil ti g than
point co Jd be, d he exec
r, It is; alsn a s~cdy ocess-«
g not t be d ; r or, a hough a
s, yet 1 should shortes possi ble in pai ting for ~t~50 he
~lIalg collected
inures e it m In tiv
rowing do 0 lnt ngs sho .. hite dr wings in in ings, re roducing !; adc an d WlQUT in shou ld c an old
A quite C] paint, r minute o expect
do his work i is too ucb to l low hi sel r to
power way, it is as yt a cut. - Fhese that is black
every variety
• better t the
is (Jr me d
c st is a iery di d elicac in t h olour w ieh it i For it ust be
colour. thing pelon ha Iy rair 0- leeted
: it is SLlre to rc Acc:tcd fr .lln
ast I d iffic ~II t thl ng
os as diOicu t as the human
b 5 tl e g advantage or
our as the man figure i~
to da and e en rrom hOUT n thi g
a
o pai It ng the human rs v~rc i h our original
k out ~ ea ref uUy ror
o ti t : C all, we must
Quite apart col ur ~ ny 0 e can sec that 3 d or a d fferent kind or
ur in ings~
r tcx nrc d T e
h harder, and Quid be care-
ow, then, shall csh pal n ting ~ g great ettenut f i nc of a cast are
shou d be so paint 00. 1 d, is covered en SCpri1.ratdy,
gur ,un te Ii rlc lol rs, t mi iute to b
e zm n FDlJ'Dllm Boou I I
33
el
places t he and moul
d irecei n or any fu shoul be: pa i nted a.nd e ~ry end ea. Vi) paint n lighlly .a n the se ra.te fibres, stray air or two a able d lance. they ush,
e zm n DIJ'DIIm Boou
I I I
L OF OIL PAJ
34
ssary ti of drap el can
l'RACT CE:
35
to acqu i rc such
gure ea n be sp
painted from ractice from the 1;;,
rapidity t at d wi th, and all 1 hut the
'en when
I
\Yo Us to dispe whenever the sud.
in their kn e human lrnust cnti
e zm n DIJ'DIIm Boou
I II I I
"for anato great tically rep
e, direct obse ueb : but we J
t letting OUT
here is hard]
on Que
g.e ove hing in b.y of res show
d more isplaced
in par agree degree
I
s net 3S eally are,
tage may wcl s is especl all y v racy ; we ha pots and pan n bci ngs Ii ke hu i tu re which sh U
g every as Leon rdo says, lnuts," In fact, d master. U nless ourage t a t (artis .. e natura ma.n to themt b t as he
of per-
content po ts a d pans.
n bein NOiv,
t only like 3.
ono hu an being nd re I ali S !!Jhall rurthcr
asa
rl in which ha ly
ond mere a r
s of study the sl tt d kept as still as
portraie student i 5 a very
ything ou ld be
of r bl all CC.
sh ou ld treated
ibl e, i]st the
e zm n DIJ'DIIm Boou I I
sole e nde r shou ld
oks at the n
PllAcr [CE.
31
most c Il.5pcct. that 5
there picture is mea n t.
Sue is. rough 1 j end. It
imafrect~ pre .. r his imple
cultiva ing of and th
legs, r the ardly is the
found:a io n e r 3.]1 g
c.
en this a e inter, h 5 im
me a cond nature an d, in ed, ought, to atlou ; ot hero • If he has hi mit "ill be no De the worse [OL" here ;5 th ng so de denin c: to the
try to h inadequate
step beyond :!II.
re is one of readily inters ,,"'"C n t on IX: ts one after c(ffJ rts to be "trem~ly bad
ubjecl S 0
ht 0 arres ht if possi t css expl es at the
he fi rst place ou r atten tion e, to be beaun itsclr i that neral nature to an elabo-
t many fine eq irement bu t I vent ure sti 1 finer i ley did. Of n only make
In fact. the it 5 neces ry to pain t it eq any true that a picture co ouri ng i . a fine piet u re, aL
e zm n FDlJ'Dllm Boou
I II
PRACTICE
39
differ fr better t ubject:. or
is one di I Y rccogn ; bu t a ists are so rnu ch
th r:!y wl 11 rt'C say that a.
r ha \.-jng io ubject at 8! L this opinio 1 ; t I think tha. a bad 0 C-J'~ a ra.d ltally ne that is n ad quate ly trent divide s bjec s into two el ; but th Ii u oct ween the . To mv rnied the great no n mod ern su bje 5 modern su eets ougl,t t
a] l, what goi ng on aro nd us at the a is more i 1 cresting t a ea I thy mi n d
e OM!'; or t buried pa t. nd againl ern
ts have the a. t advan ge that they cal be
tbfully re de d~ All histo kal C5! guess ,-or ,and i~ eertai to lcuJa rs ; r al ehocd which lay
ut which roba bly be Ii nd .Il dv anccs,
idera tio n~ w ich 1 the past.
r cdern I ire Is gl r, f it \'Ii th \ h ich the pa inter c ro bab ly n ver las been anyt the world be n as the ordi
rcspecta lasses, and j is
y hut un 31 people tha the
Is. The sti II el emen of
ne cause · the side t There
e zm n FDlJ'Dllm Boou
I I
sc nes whe at ne for th
ists who ha ty to' be exp jon with kin poor rna po oJ the
we are con -i f we have S1j b j 3rt to t h pai ting do ng
co tumes.
F or one h ing the or hlst
it :5 very ad ca no
wi] suit our
so vast t eth ng in it t
e zm n FDlJ'Dllm Boou
I I
-.~ob.lII1
I I
n issa ce, wl'te it hi hest d fi re ''Ie :1 ri \ c shaU to all painf tj ul eople,
o his rieal
o Gr k and
tuffs, and ere is the W' ole 0 t c Middle:
I mi n ilting i the I ~ an Re-
the briUi:l of
L Do we ly to turn nty of su · eets a ughtsman j p , j r we wi h to elled by a y e can r~1 in th ythology. r if he m05t d p-sca
our su ~ect f1 Web perhap is th ~ who feels that
•
h to be 1 ik d fa
tiod we C ocse, nown hist rical s to. some ~i 1 ~ if unreld spare no troo 1 to make
i th the bcs ble know-
, ieh give n powers int beau-
wish OUr feelings the Old
est choice pictures mselves
apt to s elves this
arc gi vl ng proof 0 i magi na .. shewing eir Ig ance j bu t (or ca rc less css j ntis respect. e for im . atio animatarc hi:Wl(1g)' 1m 4 natio n is
ledge. 0 the trary, the
that which cans im i late a] l
o 111111 FDlJ'Dllm Boou -. fot-aottmhoooh.Df1
I I I
ki n ds of knowledge and grou nd from which to so \Vh en the S l) bjcct ha proper course t 0 pur~uc ?
llrJore rn.:lking the sl" h test thin kin g of th e com positi n or the shou ld famllia rise hlmsel wi th a of his su bject, He sh u Id kno
were d~sed-if they ar hi steri 1 a
they looked li ke-wh a t w re their a hi S a wh athol.'! ses they ] i ved i , ,\I hal cen ry
them, H i:wing got r il.i r I elea T ea
pol n tSJ he should let his m agin at i n 3U bj ect, un ti lit seems to make s i mage. I r this men t 3..1 i m ag~ wcl I suited for a. pi cture a roug m ade of it in eharceal, Shou I
hOPel e:s.sly un pictorlal, t abou t in the mind u nt il s appears..
\Vhcn the charcoal ketch I as f gu res should be altered an d shi ed
Ii nCS of the tom posi ti seem f .flirt
Then a li ttJe coloured ske h shou1 b in pretensions to ac curacy 0 any ki I bu the rough j dea of the louting and tl shade. Th is also should be k DOC ed resul t seems prom isi ng~ Then sel cctoo wi th great ea re appro the: personagr:s of the pi urc,
I t sometimes happe s that a
o lBI B DIJ'DIIm Boou _" foraDltm1.noh.DI1
I I I I I I "i"r-i---
unsult h1e figu will h
fJn"ld. \Vhcn h is is t
..J
must empl d for
be ilV idcd 1 r p ssible. p~jt\ ~ Of if cy be more eauti ful nd gra
they hould drawn
before any umes a
10 be fepresen d) it i studle ln charc 1. Th
as is ensistcnt with a · r am ou
sboul keep m re elos to the
le for t e pictur. When n m ade, it tan be: opicd on as ml h added vigour .a is C1I P ble of gi ing.
o course, sla vi~ Iy Mpy i nn m el can more han 8. be po ible to an in n igcnt odell a mome tary g] mpses, plen t of rest, d trus
actual copy i ng Aga i
dent! we 11 P rtion
drawin made
know] ge of nt thing to have to refe to fro
nnt or mu
earefull attempt as well
of
kn up rh space of at all.
m el
more to very fe\ for ideal
t it j an really fine t they will
e zm n FDlJ'Dllm Boou
II II
44
with
if arc tum i e s in tion of rnedi 'a!
"th a \rery
entury d they had
be ecollocmd that SI that we ave ous idea 0 their plain-
the ] j ttlc terr a cotta they were often I a bo-
tly colour ~ I ha ve
of Greek nd Iy dealt wi h in
u it; es, \.Vhich~; 11 C edt
val able for th f in-
rtists abut te drapcri ~v to p nt them fr
1 cannot
the great the living p s 11 ind 0 can
ries be a
o lBIB FDlJ'Dllm Boou -.~ob.DI1
I II
rRACfI L 4S
are s re to I
ssible
n up a
pedes are too el
anner, y 5hQU d be r
m the iving del~ and hen ar
same MI s On
d be finis ed, th
rupu]ous yadh
runted, w ere\!
here this i not p
sclec which omew
ulred forms. \Vith a ittte
ay be brained in this w •
M:iJ. ilndsc.ape t 5h be
r some. si liar
raphs of the c
e~ If Ih bac
Ily drawn in,ac
th aU rhe arehit e zm n FDlJ'Dllm Boou
II I
-.
III
place out 0 possible to aint gardCfL Bu t w he from the rno el u how people 1 nk 0 t
r n spite 0 all that the plet re \v ll have stri ven ha d particul ar pa of ruthless ly scr pcd at first be r. d di thus taking prac Dee w 1\ l on p at all glaring, and t to paint a p ctur When all is one a t least look I.
sccnclool.:s
It is poss ble, n combi ne ,vi th e p other bran ell of 0 r scape paintin • 'i for its O\.VTl s e I a.
it becomes a very c [t is true, it. rna and the pro le from their" v y si
OF OIL PAl'
is. j s no pos be mod tied f doors. prc(a \J nous, iss tbat air impress »r= ieture sma and pain cd 0
It to (1\ id a
inting j 014 .... -ent the pi! tc ho
i at ion be there ly in that the
i nd eed rery nt;ng or sub] rt, such s p portra U re is ot rncrel
nta eous, to 'ctu es some iture or landl up -erlou:;)ly { study, of art.
o dema presents icity
o lBIB FDfZ(I!Im Boou -.~ob.DI1
I 11 I I
47
sent
po
the
inter sting p ieture ou t teme Q r the pre. ed that in some ere are !OJnC
be in terestin g 10 erits, but which sirn I)' ugly and dull.
t we com ~ across an t; ·hen woe do \'Lre r it u u Id be eontrary or po traiture to rna kc npl a e, Bu t we can vell, nd make it like
in it lf Is no small
quest on even, if shou] p advi
. derations \\' h lch portraits.
a d u ty towards
mmi slcns, He .... lUSt as he can do $0 ience, Tha t is, prcpa red to do !5 el f' p refer to do be gi en a voice in the ietim should wear, and r ex presslcn he shou ld gi ve hls cd not i nsrst on e 0' ht to be able to n In uniform as well st In n have diB"ercnt
as in a
e zm n FDlJ'Dllm Boou
II II
n t ti mes, and an y c pre sion on is tit to be i m rnor ali in
so e · pei nts that the paint r s auld
He. Id never fl atter his t te ; be
int lrn at 15 best, ir he can) but t t ls all. ld n er mae him you nge r or bette 10 king is, n give i m an am ia ble expres ion if he oes a ythin but scowl, nor put im in a art i ~ e if h is essen tiall y Un grac:efi L
th i gs a aga inst the artistic c nse amou tor 11 trea ty shou Ld rna ke he inch in Lh direction or Ra. ttery ; a. lilt ma t choice Df trcatrn ent, hould have heir way~ Arter all, to ] j wit t he picture. sup po i ng t e cheiee in all these serve ly to t e painter, what pl'"incip es him i the mposition of his pictll ?
ng to be ne in mind is tha.t th po lrait
eha ere ris c. The r:mt urne shou d (len orn b the si t~er; the pose m st
~ a tu.r lly ass mes ~ th I! accessories ust in
a cc wi h his abits and tastes. His e pt
be ai rl y 3 bi t ual t not a mere m m tary
ich gi clue to his character, \ ithin
i t~ th shou I d c ndca vour to na chis
d hi look their best; tb t i ~ he
in the I ight and Sh3 e w hich
s him and uJd arrange the colo ri n a ad
'C$ of his pi turc so :1$ to produce the
e zm n FDlJ'Dllm Boou
49
men iQus w bole. culty, even in such a.
d nearly th e whole or t I Y !§ pent j n a.rrangi ng t uld st ru ggle man fully t
ing bo red, This is on rtrail painting~ an d can . encouraging the si tter t n early so effie aclous, uilcting to the artist. next best plan is to g 50 C
t am used he m U5t be a ] i nevita bly rcllc<:t the t. N or shou Id the sit sti It; of course, h get too much, but a his position can ha rdl nstralned j and above eneve r he wan ts it : an m us [ ha ,~c one a~ soon a. \ Vhc:n all is done that c
portrait wil 1 depen d il g
o sltte r be a good su bjc tor not, c professed portrait t can oose ; but there is not j g to P troT in teresti ng sitt a quai ntancea, an d offt: rin
n offe r that will sel do
nsiderable portrait; be profitthe artist
itter from cultles of best met to him is uch more i I not talk, to. him;
te portrait r the sub-
s thinking ward and yen a rest C do Lot want itJ
ti
SUCC(!$S of n whether ortunatoly
pick and us lvoking 'ends and or nothing his way he ting por-
s me slight
uniary sac rificc+
o lBI FDlJ'Dllm Boou -.~ob.DI1
I I II I I
50
figure poverty The
combined admirable training for ui I t by the
aintin land ,Ilav yield c is t I) OJn tratc one IS ff'ect s; he 1 er to gi ve, scene iJJ whi the c ect is
· g of fon an ocal ur.
at kn wled the
it were, a LJ bsid iary to The first~ to an d study,
landscape: the pursu i t, rt or figureas a relief arc typical e methods pal n tin g are S,SLL rHy b ~
rapid and ledge. The on the spot, Lr1.I.thr ulness
never be
evanesc portrait the rend be well
painter, The painter, from hi or the 0 suitable
incompl second by whic or colo rivalled
If t built in The fro or ligh preva.ili
apel both of admirable
wishes er work. T . nd, Mill is's
lese two kin iHerent. 'T
time port ndsca dsca
ny siz I a s
ain e can and ilst R t work I
d on e $1 e s uld be open g1ve plenty
d t r 5id~ facin towards the Uy b shelte enough. or
e zm n FDlJ'Dllm Boou
I I I
co rsc, if the
so much the ter.
\V IIs~ being m rely open
be • eve that ] lars stand
th \Va} r; at pa nted, SO the c of p roduei ng u ire ich is t he Del shoul not profess Ia dsca Jn~dnot I in add a. sh ga her as to t t of I:h~ th reti at pri w ole art of 'ntin, som co siderable p r C tic ) uti I it
"nt any rrther, been blcto
lples whi h nnde ie the r which il be f nd of
will begin my accou o r oil pain tJ ng vi! h the d S th Kensin on Sch w ich, on u nt pro ch racter, arc call by ore ~I cdes a d P
ions d w-
by JL..1 r oyn ! and
Iy of t cl unb nding I C !ituden:5 (The Laws
.!Leu ONS FUR,. 0 I ~ A~ 1'1 T1 CI P..l r, 01" Tlt N It. tO~"" t, USH J N TN E sea LS.
, DRAWN ;r Y TIl
RT TR...& 1 N NO Sen
J;iRtNw r, FOR
oleurs to be sed: Flake when Ille cot r of the: ca
SienJ'lal Burn S i Ol.
ire, Raw m Tt BJ ~quirt'S 111 In, Vel
zm n FDlJ'Dllm Boou
I I I
PA[ti'fJ ,.,U.
tip a tint with th
For the Sbndo For the darka' For the light H tch th,= lints with
the co OW'" a~ trw; a:i ~'bk.
'lIai'i'n celour of 1he M01 w, or
If here is any quant' )' of s r ~hir.:b t:tmtra:s.ts. ina mal" ed D'J.3 up:rn dditiona 1 tint for he rell N. -In, ma,chj[J~ l e tinls be hel in the fullligbt
t.h~U' :iJ I be PO ~ shine Qf" g
If he s.t udem is. wO {ng- i t1 the ea I is in the darker part 0 the ca t to mntch the ti n '5. or t he m m:uch ~hem rrot bis pi
M ke a tard ... l outli e of t begin ing to paint, d nlIw in tbfwi th r w u.m her th inned ~11th t Ih~ r e DU tline sha n be
:-
ve some colou.r halr·tint, paintin It In
beyo the t rail sit ion 1 ne, or t
~ hi~ thu ns f..\r ns e~!!ii1 it:!li ~ or the Lighter half-tin
HgLtl following or cnu the
"-'it. !Ii L
N :M:t cover the Hght parts ~ I tbe: s aces of bighest 1 gb t bf_ imila ing the grad·uioas in the
N pain~ the refiec ion!i in
the ligluer ) mi~ ,~hite
zm n FDlJ'Dllm Boo I
tin:t~
S3
white aad tin' ,a lig en t~ ac ~1I.nnth in t
wdow (pi
raw or bu ,
the grtldat Nut
hre an h·, witb Ule II3i wgU:l.ter or leu deg ee of in in (be darker parts f the t,y! i-'Cing tat~· IJmbcrJ blat' ,and ado -tlrn, fol1O'\~·Lng j n eac
the
a 'i raJ tonel j n the hair.. bi by laces which arc ~'10 mplcte, ('H1t on the: re IIJal 1 he colol.l f
and the off.
Top not teQ\~ edge : an e);."lClIy ~i yiou-s d:.y
N(Jg Use d,..w",,-1
.l.rge "$"ft If th~ in solid rnmplet
WTong,_ it m.1.y he ret ir~ wht:n the:" whole:
-touching or more ish is
diu m rubbe d • hin'y on nom
in thin cnlou r. pai ting should fig' be so n to produce highly m til mlJ~! be undenlOod l Of nfin i.hcd in a:ecut;O
e zm n FlltJ'Dllm Boou I
ur of this S stern match d. again a cast ·5 the else, a. d doe do I t ink it or co] urs ~ ,l5.tlJderJ
palette Ev
cannot be p ment -0 colo«
cri tici rns to Persia s, whi ence i the t
h-f first
t my system Indeed) [ h
the Slade S vertheless, I I ws or the
uipped wlt t may crop C1J e 1 bv the limit
•
nd d by Mr. Poyn
o lBIB FDlJ'Dllm Boou -.~ob.DI1
I I I
Wily. iii e w ieh is vcr t h stude nt w It be sure 0 fa r 1 y be left t student
55
PI{
Thr: wan sted as the cast s adow ; bu valuable
to the LL tine he shado\ I &Cr
this i'Tld
5 adc is qui
Another s re ornmenda i i5 quite untr e b ushes, and l \V II g;\~ a b ill whic.h th
object _t the r tha 11 At. 1 t draw wi adv: ntag~ tha acco ing to t roun brus h it ch to n arly he same
n ms t ie i nj uncti n to ~I it is q ite true t at in
of exe tion j s g ine<.i
I ld" rongly th t ror
It can If
is to secure i.1!I; veey d iffi
N w, it a in th i.s with on e pai tin g, i po i ble 0 judge f the
e zm n FDlJ'Dllm Boou
I I I
A
UAL
correctn ess of rc 0 the
can vas is b I an rea ad va nt age r J lin up
the c:anvas at II c is t at t ell an tile 1 It
sure
su rrou nrling§ y be
they w il I not b fa r \v ron perly pursued. Bu t, ftcr .a nd ready '\~8.y f Securil ing a fc u ndati n bu t n fi nlsh i ng. T the pal ctte-kn
map of the and then to oyer it until a J
been gain ed, ad "ant age. I ra tely a mere canvas with t represcn t, sur u
qu ill: a part rro
to expect of lex ture quite aim at it~ b u t 1
must never h WTong I eve n a
messy. But, u
"'Cn known t
all, it is r uracy: inv fficicntJy d true rnetl ughly ace aud tints etch by p degrer: or the eye m e able tD C in the mid e object it sorts of col
e zm n FDlJ'Dllm OOU I I
57
So very there
on again and And as this wo
to do without
e begi on i ng. It· t r u e tha t there lri ve fi l"I i.!!&h t h ~i r pic the p ture showj~g on
possi t to do th is wi sera ping on t bi n ti ng them ove r do ne with grea pa ti n and de er It may he gonrl · but; \ H1 he gem
e piet Ute is P a te a t fresh
has been ga;n at h ex pens 0
aluable q U:r:J litl cs 0 f g n ra I truth n f effect, A t a y ra e, i~ 19 be
fi IlCS t pictures 1 pain ted
! that or conti rking ov r
e rcqulsl te effect gained.
ily be usef ul t wi th f.; r.
the one pursue j n
of lL Carol us D iven me by a rrie in hi., own wo Ij he model was po
it h out shadow bac kgrou nd, W
ela t lons to the areoal, then we ren ~ then ~hc 0
o conart or
ispute Ie other d over
o lBIB DIJ'DIIm Boou -.~ob.DI1
I II I I I
S8
ed ... ~i h tu ti put i pa ette Y 9 set "H[ c
to m:l kc n y prep=- raw dews, The
w umber. cobalt. laque Ted! yc lJ W ochre, and on the alene in this
ce or ton r
smail b shes, at illlY
r'S"
e to c.". hc]~ a nd correct the pain ing if it was ked in th cu rtain r. rst, in big touches 1 i kc \ ith a hat hct ; in fact, to sotten hings down,
e the igl t a mo LUl light a d t he pr~r
fi ~ t 10 the" ghc:;t Tig The hair,
at Minto t Aesh at rst, but just ght tone I ke .a coa wig; then u hes w re plac 00 0 e j unctio s of the bjg m Ie t ches, to model ten and m ke the flesh In re s p le. r u rse, t he I:! touches ere a grauati t ecn t touches h y model AU was tions by rush inc: the
t e d ark s 'i)ic~ w:r.rd ~. c ually mil e and match H carne ilga in
zm n FDlJ'Dllm OOU I
s tern bears a considerer's, the ch it!r di ffer-
oes ot consider it ti m ,but pre fers, as ones shoul d first be of the fi nishi ng
cnce being advi ble t
S9
tha day we finished
ot ler et hods p met iscd
t em on the same
(a.1I r or bsolut e tr ut h of in the sim pl est
thod. pursu cd by the ca nvas !Ii de back wards and ~ in many \\+ays
3. t1 is partjcu larl y wcl 1 ou t of the direct com .. n the icture and the
Sir
visa. b e rOT L the h this
mcs
60
generally it is right. tinual co with great same time next thing yet it j~ precision
Anoth
is apt, out canvas, an I Dr his obj proceedin ) general vi Of cour danger, b human nil
So far is, they h sec them. fhat or a
founded which ,va thirty yea and consl in a sort colour,
gj ithas to bee who lc process is ss wh ich . 1:; hil rd l recision of d ra n. s be rem embere is to be wrong \ i
r to be righ ~ · e
that the proc es i 5 so trksoln~ t h I
.z n.e~ to stop to 1 n paint j s picture from the" w when h _" quite clnse t t
5 it is u te impossible t of an 0 j until one is sO very r s lute pi;! i nter en
U Ln41n n tis wea.k ~ partie
, the mO!.1: thor u practised j n E la cal Jed the AI t e 1 ing the sub j t:ct c
t called "·f u rra y 0 elling was com pi
o lBI B FDlJ'Dllm Boou _. foraDltm1.noh.DI1
I I I I ·-·r----
Wil5 d d by or au ie, the ssibl
and wh e. n II last pa ting ult
palnti gcs ion can be Th pi t .. re, i was ed out v
in gla.zj ngs 0 r ans a. nt igrn nts, reat 0 bj celi on t h i eth dis that to get anyLhin Jik ns of it. No gro ing ell tral grou n d t gi of hue- that is t be r.
PltACTlCE.
ctte r or Si r J os ua ich
d account of 9U h a
wn practice in I' I wh he was
5 (lId-that i5.J in is r ishcd j n my met od fain t ng. paintings are wl hoi r c aiv olours being on] bl c , ult am nc, C second paintln is t sam .)1 tl The with ydlow ocl roe, a c, b ck, and without white! re tou h d wi h a. ittle her colours. II
the hands 0 rani s I ike cy old, be done wi th en. D II nsa isfa ory m us t be noted tha 1 tho h fi ne
not by nny m ns a.t his fi rst pain t ng of hls black n d by the ric: hCE"" C Iou tu res. 1\;1 uch 1 stem if the pal tte is s light ly en rl h I ven of an the c lou s
its first stages, "" n t ion of t he 'iCC nc t r [!
rine was vhie he ~ ctio Cia be
ieh u d in a th t a. sug .. r th ori i nal, be a pal and r the
e zm n FDlJ'Dllm 00
I I I
-.~ob.lII1
I I
ther had r elved i nstruc \0
~ 50 I WOO blc th UlC tradit io!
by hi i or the rn Il rk.
Ti ti an pa cd his piet u es at first ve
wit l 9impl 1 tc compos of white, blac ~
ye 1 ~. Th re 'a.s 3 ppa rentl no blue; but
wh ish-grey, w ich would be s
10ur in the painting.
ks or four end) Ii ngs w ic
d and then I picture was p
took it up a l the rorms. ( contl nual gl a. i ur, frcq uentJ brush, In th s
colour ls inforccd wit
II palette uti I th e req uis bee n gai ned. RS jf TItIa me rton's ve hie arts, fro ount of R
11 the
's practice: w re (J this interesting at d eel which I h41~ olds' pracelc ! ini teUs us \'i th r ~ rd ini knew th
tings 5urpas a method
t is too eta ould aim il. commcn]
o lBIB FDlJ'Dllm Boou -.~ob.DI1
I I I I
is ever,
rs to have laid i hig pi tures w th d this also \V s the utch pa; nters eneraU. No, j 3- cry pl easan t our in itself. nd ful greys whCfl other 'ours re r it, so tha t pi!. i ti ngs od ueed in
II y agrcea ble i colou resent the tru II ring+ A gre ~ but the actu lou ring than t be . mod ified t ; bu t in prac
es p3 in ted in d ~ antagn tha t pt to become more
\I" hit e grou nd sh u ld sh
i a little more han w
a drawback, a d wOU
the ge neral r chn ess r·
dark grou nd t e case a tendency t grow arkc r' ith sly unwise to h ten th tcnde cy round, whic h com nd \"ery year. tneccssary fferent systems in the matte
PKAl. ........ ·IC .. .,:,.
auld kec -
brown is ords deli scurnbled y a.re ge:n ly do not r natura]
nspicue s think it i regatdin ho is cu 0
execut on
in he
cnt in he rather pt and th re
~~e cr
f pa.i Lng. -can fi
s of In tingJ a
o lBIB FDlJ'Dllm Boou -.~ob.DI1
I II I
care u] co lee tio (J r all t
the n ds or the old
'-I Port olio I' for re-wr tten and 1 hav .31 read y
nung as ~ gi\''C of at they is really hey in ent new lHicul t r always t; It ual y bel ng 1 t t do good
m, a n there: is ki rut r defin ite
01 II) FDfZ(I!Im Boou -.~ob.DI1
I I rl I
es to practi al matters j reti cal prin i es w hie h
To some 0 e it may fore theory I can only
my j tlficatl n, th t in ::;0 dOL 111m fol-
e natu al ON r, for no valid th of any-
ever en m I:: u til we have tically
a goo deal a N or is it p !Sible to y und r~t3.nd the y un tll we
the (a ts on whi.:h it is
ther p le (amo~gs t
scout the i ca of ther gat H, a d who are SC6TC afte scie ntUic
dell W YS 0 Fo
beco ing les com 11K bet r und rs ore no less t an k
Y.
many
icnce is hen: are iii we shall
o lBIB FDlJ'Dllm Boou -.~ob.DI1
I I I
66
ercn t shades a
is so atTi1.nge his
as that il similar pat
fa wil n y. In w n fortu at ly.
howe 'Cr bri
•
~ c nsider s ma tter 3. the n se of sight a nsw r th i s qucsti Y. to the C onst i tuti
ttt e more nsi t ?
I must n or the
ld by P pic who arc ua j ficd to e SU bj t, t hat matte r co sists of rticles, not close to 0 c nether,
ween, and tha t t he arc
ding s mething, callc I:' ether,
f still smaller t cl~t or
!ole do not · much
now that it hrough it wi
tions (OfJ rath ~c call ligh~ is so arrange lions: that is to s the nerves w i tation rcachc
ether- fills up
or m ter ; it is the ts up t te vibrations i ctuaJly a.t re t ut are \rVhen a yt ing ;5
e zm n FDlJ'Dllm Boou I
THEORY
o we i magi ne hilt
same j the ei .. -es them. limits or ra
vibr ting y ity re tra
h
rna and e en di erent for
certain ext ceived, but
ether wa "c:::s.. y vibrati g ve self-lum] 10 U5 in a crfect other b dy, c their ursc t
e zm n FDlJ'Dllm Boo
I I I
are
t vls ble lly cd,
e to isexpl in, colou is
for he
-.~ob.lII1
I I
1 at ter case to he
ot her hand, t]
nd rrom ! t, 0 , are re-
ts s dace. I r the a e be mcoth,
ted i a definite d ire ion jf th su rface are ref eeted ina l t hes reflect ed ray n self-Iumino us.
ray $J and it j
In aU
a]]y ifferent ehe n rves of
ea rays iii re in. a ert ain e x tent ~ an be rnlsed ntratcd
t, "by a ether means
ne gives
of li ht. It
68
deviatio rcfracte some of Ae(ted
they are be roug by mea objects objects rays t.h.a rays whi absorbc
visible. heating, as hot UPDP it
The first pia rise to the n
.. !!it ttl tiv~ to not ice the same ra of vision, I many or th isible rays are, t me f them, at leas J t ski t provided th ffi . ntly,
Iffi nee depends on t~ opti 01:: rVI:! he we
1 y d i erent sensatl
uch The optic n
. by blow; by a ga in i sown bloodt3.in rapi dit y ~ but ex itc mont of til m to the se 1 angu age, a the one spo
rise in can on] quite di
e zm n FDlJ'Dllm Boou
I I I
touch. very cnabl differ There j to thl by the
er tensity, cr ~ en skin which s at ra us, s 0 th at
p3re it of whi we 301
king it int II gib c is ene which s we l kn (an b~
otographic C 3.
dark box: "t a ens
it, which ront of it 0
relative I the im a faithful t r the sere
and
i tion, ivalent given
in a that
-.~ob.DI1
I I
'}o
their rorms
the le S i at an blurre. This p the lc oS ckwa appea
c im gc appears
rain by moving ~i1 t c image on he e e is merely m or lenses, out de it on to lt ~I$O has a ocus s obtain ed, cmpl ycd in the
a. cling e distance e ac al sha pc or iog re convex onvcx for d j sta n t CCClV the image uS res of the: d UTi ren tty r rom
cem t .5 prcad out lies called y describe stru ceu res
3. s.o mech but pho betw the
e way in br ai rem ains a
from he out side
eve case) i fl-
u hly th t the brain so f ar cqu j valen t 9 en" led to in fer
e zm n DIJ'DIIm Boou
I I I I I
f r mit the proper pes mon an d r umin ou tside the eye. B t here we arc confront b t only see that one obj ct n in the field 0 r vi sion fro from others in in tensl y 0 j rrers r ro m them in ultc in colour. w, this third diffcrenc
t ere i~ nothing. so far know,
o Hg t to accoun t for it. esc rays d i fft:r a man (amp. i tude or sW'j ng) that is to saY1 the s S 'on of green are just j t the sensation of re ing a tittle more rapidly 50 enti rel y d i ff erent fro ~ .IS bou ld c xpcct some or eth er wav~ that cause he sensat So to the difficulty is lh t e lours I ari t ies, to which, aga in, oth g 5eC th physical constitu ti on of J gh t; for the colou TS. such n n:, green r to be 51 mple, whil:it oth I sue J and greYJ arc eompo nds or two t :!;iC s.i rnple colours, Agai. th re are (c J colour-blind) who can see he for
r. 1 y and some or thei
n ibLe to other or the f n J the whole syst em 0 f
THEO
71
xeite those they nsario n org diffc
cpe ofobj t who lJy to
e 1 I n FDfZ(I!Im Boou
I i I I
72 A. liIlANUAL OF
be ve compUca ted, wh 4 ether w yes are ve ry simp le
Thi puzzle is so diffie holts ( he greatest living acknow edges t hat he was u that \V uld in the least ac with Il n en tl rei y sa tisf acto or Thol as ¥oungl an Engl the be ianing or this cent the glo of having fir,nly theory r 1 ight.
H el hol tz remarks that in rd Icc that ever ] jved~ bu be too much in ad van ceo- 0
t ha t y of his (inest di
.a tchi ve or the Royal Soci ousl y re f scovered by a you I
other Uses t hat con tri bu
with \V ich the labours or th in his wn ti me must be re rortuna ely, successful onsla who u rwards becam e L very in rior capaei ty to greater etension s,
The theaI')· or CQ lour j n prorOlln cbllvion, until He the cOU se or his omni vorou struck it h the com pl eten g.rl ve the ridd le that h Having len tit the 3. u thority n ately ndimmed by the s
in the
Helm-
thorlty on .51l bj ccr]
b Ie to ram y theory
unt fo it, n I he met xplana 10n ho
is due dulatory
keenest
aries, so in the c laborimongst neglect treated and, unougharn, man of nfinitely
at once that it
pu.zzl so long~
f his I:: eat a C (rortu.
· ct UICS of a Germa t1
o lBIB FDfZ(I!Im Boou -.~ob.DI1
1 I II
THWJRV.
13 by
':t ncel I r j it is n O\V a lm O!it universa t e scie ti C -orld, As t · t h ory is or great i m portan y est to expound it. Sin it h s always been held that
t rec!!iii c pr i muy col ours, an
thers a e m rel y mixru res of these ccord i g to N ewton, the three pri r j yell, a d blue. He seems to t is resu t hi Dy by experiments on igm~n . B t unfortu natel Y t the ent s i , v ry d ifr"eren t thing (rom 1 ght or Ii er nt colours. There are
oducin t e ttl ixture or colou red 1
e simp t r by using what is call
c slip 0 an ordin ary top little
ard, p inti_nrc hal r the disc of at of another, and then
ec nothi ng but an u ni form lx ure of the two oolours. bl e and yellow in this w en, b t k nd or grey. By cxpcrim i this a d si i lar ways we have now
t e tru c 4 aries arc red, green, a w ich all th e 0 ther colou 11 is for med by a com
rtis~ e ·of he a. only th t al the mpl co ours, ou sate
rriv at re or o pigixt re Dr s of
un \"i let. y a ca bepro-. ti n 0 red
t nd
a co m bina t I on of vi olet ed secondary 00100 rs, together in certain pro
By mixing the t hrc
in
e zm n FDlJ'Dllm 80011..:.
II
arc 0 n ly a,CCU5 mcd to ear ha t blue an yellow ut g cy Or \, .. hire accord ~ i1 u m i at jon. Th t th ls js crimen t m non ed
t why do lue and D answer this we
pi ents prod ce their
y d so by arb L ng I ig t that reac 5 them, una sorbed f! re fleeted the spec La 1 00 I
74
A
ing so ca
abov yell 0\ pal nt p m ust explain h differ t coJ certai colour
w hils the eo I back ofth T
men e xam ned by t
l'e.t1cc 1 ight f
effect being t take he cas~ bJ .... e aint ab r wa v reflect] g violet so tha t tl e result
blue. Aga j n, ta a. yeJ l
the ue and vi l t WRVC
yell 0\ I and . A i
ilb50r
will , theref re
It must h
so-called
ture o r pigmcn is: very ; t at none or the pig .. y u re colou r, \Vh~ n
pe they are und to
en t lours. the t whole ese ifferent hu . Now·, n t s ch a S co L The ~ orange an yellow he grc en. lue, and ern I im pr ssi on of ent, w hie h abs or bs till g bile k the red, ture or these -0 will lour except gre • which nt ti t or the mi ture, tha colou 1"$ dl cr fro In
e zm n FDlJ'Dllm Boou I
75
other In lr qui t distinct ways. F irstly ~ ill ~~ a! 1 sh d an d arleties f red an: d i If trent
11 shades va rie ies of gr . n. Secon dly, j n
n ity-a I red i di fferen from:t dark red,
~t in wha is called aturatio -that .isj one red
much red than..., her, q uite mde ..
c tly of i ty. \Vh n we speak or a.
chi in ten h at, in scie nt i fie
our, So that to O]OUft we mus bear these three Take any gi n colour, such as ~ I the first place it is yellow,
in it is ightl in t e third place it is
tn3.t i j the hue s a light yellow or
this tha th e W he 1 C systetn it, is a very com pl ica ted ady pol ted on t, there are renee! i the ether wa ,'es • . gi \""C rise to the sensa. t ions 0 r
I di ffr:r n rapid i .:l nd in in tens! ty.
I nothi that rresponds to the
d the seconda ri cs.
om a c siderntion of the il VC'5, h .. ' it i £I tha t aile n other ot on 1 y in degree, C C:1 use of these co m pl ica-
t for, at in physical proper ..
~ bu in the · nstrument \V h ich the s me way h3.l ether wa ves c ly id tical gi rise to the qlJitc
e zm n FDlJ'Dllm Boou I
MANU AI~ 01"
recent :1ppar t this: t
S ald that eac.h or waves or a
is ehl aln le to jng Ii
4a, '\'"C.S, er on ond to ht]y a
of uerv t either b . of wave f
excit t acc.ordi they tertia
e zm n FDlJ'Dllm Boou
I I I I
-.~ob.lII1
I I
17
h elc 5.5,. caps ble a] ics of colour
e i prcsslo th et it Wa5 B.
opl ea n blues, greens,
lu i sh - reen generally So that they and the fiower red ;, nd green is a m atter or he colou r or same; they
e nen-percepfibres would be m ply suffici~nt light nd shade, ex ..
a.pp ea too d ark a. nd
e zm n FDlJ'Dllm Boou
I I
AL OF OJL PA NTJNG.
qulte
my fo fil of co 0 u r .. blin d n n 0 f th other.s ts of nerv gi ving add i tic it I con fi rrn
ve no l ,a.re e ily fat
eat er he sub n rves of the
roo In tired
e zm n FDlJ'Dllm Boou I
-.~ob.lII1
I I
short "me it object in the only e n the
c. and very le, Bu not
79
some t me, wi look way
local tigue the iln ge or
lies en tlr ly in
hich ivai
out the at
nt it is neeessa
n~ed upon the ig allow to wand r, '11 be fat;gued i t Ugh t bject shou d
brigh enough. h exc i emen t On
cd awa i t to ex tte it
ucce. ... s this
yc shou be
therwise ortions not ad ~ 5a ble t, wh i te pel' j cct pro uces at a dil erent
; besides, urio 5. pal' te porti ons 0 am nerve-clcme fati u e the red .. s e ~ot Cl'5.
ti e fi xedly at a brlgh t gaze to a pi c of n image of he ob
at the redbeen tempo light comie ord ina ry d r msta
all hree sets of nc vcs, t he grec:n and vi let- se i g
that the p nt
retina is of h-
serl C5 0 effects stim ulu can be l
Bu t not Or1]y 11
be exci ed ~ but al it is qu te possib e t (ror in.s t nee) wit out
If \ Jook f. so object a d then t arisf paper w shal I se a b The ex 1 iI. na ticn t h or one rt or th 1 ysed b ra tigue~ grey p pcr ~ whl h, would s imul3,te uall atcr effi t 0 n on t ot percepti n in this part bluer
T his suggests 0 us
e~OUB pu
diU
and vio
have t If \V can In a nerves, e shall sensatio of red.
To
our
Its by u ... hich c can te than we c n eve
Our ordinary rcep
with sensatio of g , as the long :9t w v i olct~sccing lyse these t have an a]
een f ades in ily for some tim e spectrum, nn
e zm n FDlJ'Dllm Boou I
a
a red sue for the fi An t
nation true, a omical l assu
he
wanting. mammal site diffi
I tn.1S slight id th esc w h 'Vi with it ei he logische German, Ic-cturcs. There 15 Internati n by Prof
Hith
RY.
8t
er seen be ore, f with gre and
of
em: so rate in rch hasno n--that 0 e slight
and bird been f,
need ot cru pie s m n 0 tlines, as yc co lirnled the t Tee nerve-
nfirm tio tho gh nd 0 th
some refer
ey Me u acqu in his pula en transl ted in wor k on he su jee ries, U i\Jo ern C
ences in us of di e different s
eives more al obj t eolou 5,
r, we wilJ I aspect
bich rna the r to
These d iffi rene a solely Objec 5 whi h:; d to
in length to s red,
us green~
e zm n FDlJ'Dllm Boou I
8: A ~ ANUAL OP l'AINTINC.
and an objec nu to US, as • nearly
on. 15
the of waves 0 d fferent
" the
avera
0 r usu
the su 1. Su
to be mp
portio s that t produce s t
Or y1igh t, \\'1
visibl ly 5unUgh
lobules w
till more we
percei lue sky. eneral
Ite, althou hilt is
r mor i ncl inet.l t The
sun's ightj 0 this reflec lfght
or self .. ] , from
i\n lnOU5
all ,~at ralob ts, and it . I tl,is way t
them. Hut general r 4 is not reR
,
same roporti s in whJch received.
colour obje s owe thei lours to the
thcyo ly refl :some of ves 0 f lLgh t,
or tra smitti the othc 50 that tl
W:iLVe!: hat .1 efleceed fr
three crve-el ents cq , and, as we ] a seen,
any u equal citation of ret i nal clcm n gives
rise to the Sen r, o u!' artists' pt iuenes
are bo iC5 wh c have this erty or absor
ys of I ght and ing others.
paint sorbs ry few ra absorbs Ih
so tha light j fleeted fro pnlCtic.aUy u
e zm n FDlJ'Dllm Boou -.~ob.DI1
I I absorbs many m re ra y ~jelly of ~ so tha.t the ones it reRe(' are mostly Our blues, on the ther hand,
h Jongi:::f wa ~t a so on, A black
of great absorb t pow ~ so that reflected f ram it, n il. position to Un
ent c r di fferen t ly lou pig men ts
so thorough 1 y resen a n a tu rat
a natu rat seen is n thi ng more
r co lou f5 prod lie by he va tying
i lu min:ttic n of nat 13.1 0 beets. Ou r
fl give j tIS! the me a. rption of
prc~nt th e V3I r y i g ill u j nat ion by
fleet more or less ight t the eye.
a diff icul tv. C n it re resent the:
~
sam e j~ ten ity light and shade that e natural
scene gives n many instances i certai ly cannot,
Let us take th S( of a pictu re re resen · g a sun I it
landscape. \V lll su pposc it ha gs on he wall of
It is ious that its hi hest r ht is only
i nated by the in erate l l ight that
r roo Ill. This m u t surcl be many , saYJ a. white s e, on which the
he real landscap and t it cer-
nlig h t, To bri n out th d j fficu I ty vi 11 suppose that there ang! side icturc another rep sen ti g a. mOM-
OUT red pi In the shen ter k i the longer n abscr b m os ly pigment is 0 very rew ra
\Ve are no
THEORV.
that an a
white pa nt, c 2'
white obj cct wou be r pusen ted . t h perhaps a slig tl y bl ish tl nge.
e zm n FDlJ'Dllm Boou I
At any rate, t would be repr and yet we k powerf ul tha so than we made direct about 8~
an i m und r 0 rd Lt.
re ina onl rcspo In a conditi
stan t u n\'aryi g qua itles di ffe.rences w . ch v ry f! III 0 e morn n
To distinguls on ob j fr ru ano
i m portan t to now heir relat i e cola osities ; th3t iSJ th t u der n y j lJ u ob j ect is redd r tha a b ue on ~ and lighter than a black 0 nc, Th· tells i m portance, nd r: a. blc bod les und er aU pa light er in 5U n ght an cc to us wh teve we habi tu all d isr
matter of ha t, but it i the structu re r ou reyes.
As we h vc s id, t fatigucd* an d n th' s ta great j nt ensi t ; \Vh reas
e zm n FDlJ'Dllm Boou
I II I
TELEORV.
exe ted by
uses stimnli given by the o ~ ts i
nd vcryt j ng seems dark; but i very tin a recovers) and a n y light bj ~ t
vith an i tc nsi t Y Ihat seems q ui bri lli
este eye. So that not only do i ffi noes nf i llu m ina tion as bel 5. b t &1 the structure of our r u1 y perc viflg the m, e wil no w lZo back to 0 ur tw
h j tin th sun ny picture strikes
ot n d ul led by CXP05UTC'
L or real in u minatjon i acu teness of the retl n
nearly '0 great as it, en exposed to the m So tha t the moon Ii t para lively inert cyf;
an the actual scene \: · ti ve e y~ th at wouJd. n a
85
no and
room,
time S crut o the great
The that
-.~ob.DI1
I I I I
86
13\ how j it that we can n light an th 0 a nswr:r t thi i
rant
sunn mode ljghtJ shade r obj-e iUumi
Id~
Th~ diffe
o lBIB FDlJ'Dllm Boou -.~ob.DI1
I I I I
There is can be draw to d lff eren t that one or t
on the red-s
e vlolet-s ·
slightly or
sity has st
ant ] ast on the r d,
ends t us light 0 e
nr ,appears t U!J
same avera or a bluish ti
There is out dearly: colour one 0 a room they take them
pJ e ex pc· cnt ich brings t is
t kc t :'0 pice S o( paper! a d
and h oth lue, so th t ill
mess, and will ap t the blue
a ppea.r m ueh It is chie ciplcs that 0 the ir falslty The latre
ig wen kn nting is to "d bringing c say! \"'0 int all we cause of
e In n FDlJ'Dllm Boou
I I I I
dim do
physical. ·hcn we lor; r s orne time than when ve 1 k at the sc
gaze claul
is n t so uc]
atten t on a.3 ad j stment of e reti na to
tleul R degree f ] ig t gi ven 01.1 t Y each sepa. of the scene, 0 r i sta nee we looking at lands pe, inc fo roun of • ic h is a w hit ston w hich is the b + ght t 0 b [e of c scent; Y\·
look the vi v as w hol e I h one merely
wi; but ir , ort time it c all sorts n it. The r j n a h :9 degree at hi ch t
1d the pain repr
Ccrta i nly not * f r e as it itlpp rs to pain this sto t~ not as it p pea 5 som~ time. A ga i t e to paillt log f he J ooks at it wit su n ligh t it ppca z;ing at th sha \~C to do if C wis
can sent i with his ob ect is casual specta t sees i when when e has if he a.ve in wood lyi ng i his ey dlmm simpl for s topa
the g ne
III but. Il:
time (as he 'n eye \ in be
in t c log~
Us: to run
] difficnlty to t lC most wh lese
e zm n FDlJ'Dllm Boou I II
instinct t
he sees. also,
objects. p int.cd in a studio li he dHE u
\-""e-V i%.t to ~ nt
gh ina lcs degre to The be t pta leal is never t kc the it tmt one
and endea v ole. osition to e amin can tru th fu I ] n:p the sHght sk tch I it is abundan ly evi ession tee ei ed 0 th e identlca I wi h the imne Ih ill it de ices. n su gge!iits it If, h
d i ffc ~ncc c.tw a.
ve 1 iUle dol bt I h
question a natural given of that in all
ure can b rom the s the qu
pression r
Here, it that w
picture the r lity?
a ru le, we kllo hanging on
a f1 y rate, isJ bl
Ind
a.
ca.ught r a portrait in 3. pos i ble 10 be in ; ca n very we I be
t sieht) ~ a. living be is
od in t ase of a port
farly if on
lnoki ng -gl we
person cut ff fro
its surrou din There 19 a
e 1~1[) FDlJ'Dllm Boou I -.~ob.lII1
IIp round I e w~rc ~I rew ah ground. In one by sidc-on and, at f rst
Dut we .of actual d pictures 5
pictures arc .
d 19Crcpancy betv is quite sum icnt 0 them from
into portrait of
ad mira. hi r, n
hfadrid at n time w en hi.1ii COQ rse this tory m y be matter of lsto • but it possible.
Again. celebrated in the Cha
there :t be the
being iO. vay. a as it is a vay im-
t in the xhibitcd ffi("uJt to lly built objects d back-
!isibility of ]j\tgC When definite s which i tinguish ifferencc yc.
. objects ach eye. stances ner), we tmpresct~t::md