200 



THE POPULAE EDUCATOK. 



PAINTING IN WATER-COLOURS. VI. 



FOBEGKOUND, MIDDLE, AND EXTREME DISTANCE. 



OUR remarks in this lesson will be in a great measure directed 

 to tones, and their gradations, as they recede from the fore- 

 ground to the remotest part of the picture. The subject has 

 been introduced before, but only in reference to other matters, 

 merely stating that colours as well as forms become more 

 generalised and melted together as they recede : in other words, 

 colours as they retire are more subdued by and intermingled 

 with grey tones, and the details of forms are lost in the united 

 combination of masses. But yet there must be one and the 

 same principle carried throughout ; whilst objects in the fore- 

 ground should be crisply rendered and well defined, there must 

 still be one harmonious union of the whole ; no one part must 

 appeal prominently at the expense of another, and the masses 



in representing, is but daubing. At the same time, we decidedly 

 object to microscopic manipulation : in other words, whilst 

 there must be a truthful embodiment of all that is indispensable 

 for the preservation of character, regard must be paid to the 

 masses as they stand related to each other, some more promi- 

 nent and defined as they approach the light, others subdued and 

 generalised as they recede into half-tint and shadow. It will 

 not be difficult, then, to understand why we lay so much stress 

 upon drawing, and the power of drawing to enable us to accom- 

 plish all that we desire ; not, perhaps, that we are able to see all 

 at first, as this is an increasing faculty, perfecting itself by expe- 

 rience ; but a mind habitually directed towards the attainment 

 of this power of discriminating the most delicate tones and the 

 most minute characteristic differences of form, however insig- 

 nificant each may seem to be when taken by itself, will quickly 

 discover them, and fully understand that it is the combination 



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Fig. 8. FOREGROUND, MIDDLE, AND EXTREME DISTANCE. SKETCH OP WINDSOR CASTLE. 



of light and shade must be so managed that the recognised 

 features of the landscape may present themselves with sufficient 

 force and identity to give individuality to the scene. We may 

 make the same observations respecting the middle distance, but 

 with this exception, that particulars should be less defined, and 

 still less as the subject recedes in the distance. If these 

 characteristic distinctions are observed throughout, with a due 

 regard to the requisite amount of labour each respectively 

 demands, we shall in the end attain our object in giving ex- 

 pression to form, and of combining harmony of colour with 

 unity of tone. 



First, with regard to foregrounds. As the drawing, or de- 

 scription of particulars, is so very essential towards making 

 EI successful picture, we advise our pupils to attempt the pre- 

 sent illustration (Fig. 8) first in sepia, solely with a view of im- 

 proving their power of giving expression to all the various 

 details throughout. Those who have earnestly taken up the 

 subject of painting, and have accompanied us from the com- 

 mencement of these lessons, will have found out by this time how 

 much depends upon a conscientious and scrupulous observance 

 of drawing details faithfully ; for mere washing in colour, without 

 any regard to the form of the object which it is intended to assist 



of all these as a whole that makes the difference we acknowledge- 

 to exist between one object and another of the same class. This 

 enviable power, then, is to be acquired by close observation and 

 study ; it is one that gains additional strength from every effort, 

 and he who possesses it will become more and more convinced 

 of the fact, that without a strict attention to all characteristic 

 details, whether they refer only to parts of objects, with respect 

 to their individual forms, or the same under some special in- 

 fluence of light, or subjugation by shade, no satisfactory result 

 can possibly reward his efforts. 



After the whole of the drawing has been very carefully made 

 out, commence by putting in the dark broad shadows on the 

 trees, and paint them in such a way that the high lights and 

 middle tone may be left. When this part of the work is dry, 

 tone down some of the more subdued parts with a middle tint, 

 preserving those branches which are to receive the greatest pro- 

 portion of light ; this will enable the pupil to understand the 

 tone necessary for the sky afterwards, which must be painted 

 with a flat light tint, leaving the clouds to be broken off at those 

 edges which are away from the light ; when this is dry a some- 

 what darker tint must be used for the cloud shadows, and their 

 edges towards the light broken off as before. By breaking off t1i 



