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.

lacks

hints

necessary
will

matter

no

their

her,

the

of

technique

the

knowledge.

one's

failure

of

many

Nature

imitate

associated

may

great

towards

to

employing

lies

of

he

methods

the

may
of

expression

real

art.

and

art,

student

there

painting
of

shall

complete

rudiments

curriculum

something

attitude

always

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

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

may

an

any

which

as

course,

progress

least,

at

landscape

taken

have

of

art

these

in

attempted

not

the

on

stages.

such

drawing,

have

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

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

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

his

as

to

why

escaped

beyond

belief abroad

curious

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

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

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

hands

judgment.

ix

PREFACE.

student, puzzled by

The

Claude

or

it

I have

"that

he

ignorance

of

such

find

to

the

examine
and

it

how

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.

standard

complex,

artist

In
he

which

yet

artist has

is in confusion.

close

at

pictures,and

more

be,

may

more

qualitiesthe

equally great

an

find

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and

more

his

but
seen

great

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knowing

not

endeavour

may

(one

master

theories.

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to

he

when

of

his

rest

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analyse

problem

established

to

He

into

of

he

Claude.

of

notes,

as
principle,

which

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work

trustworthy)he
The

be

in the

art, and

of another
same

Turner,

and
contradictory,

more

also

great picturesome

that

which

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expressed.

Poussin

may

perplexityhe flounders,

on

altogetherignorant

remain

and

of

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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

in vain.

universal, and

where

that

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with

reason

can

at

Corot, and

discoveringin

school),expecting

But, alas ! he seeks

is not

that

student

he takes to be

different

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

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

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.

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

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

biassed

so

tree

can

their

branches

the

of

he

masters,

discover

of

contours

leaves

strange,

mind

anything in

see

the

for

old

to

as

become

may

the

of

far

so

go

looks

with

man

and

Nature

he

If

to.

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

masters.

their

principles

the

in

mentioned.

have

studying

possible,for

it is

yet nevertheless

in

great

through

Nature

at

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

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

unduly

in

salvation

own

romanticist,

that
responsibility

the

said

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

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

that

purpose

of

the

similar

with

see

his

labour

is

help

service.

with

minds

free

their

beautiful

love

mode

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

of

to

the

wasting

enable

may

passed.

have

very

that

for

that

certain,

come

of

danger

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

the

distinctive

fellows

they
is

pages,

personal

of

art

his

of

which

through

following

eyes

snare,

the

in

the

has

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

Subject

87

XIIL

93
....

LIST

OF

ILLUSTRATIONS.

LIST

XVI

"

Valley

Midland

The

the

from

Gleam

To

Venice

of

Sun

Venice

ILLUSTRATIONS.

OF

Lagoon.

before

Out

Going

the

to

From

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

Chambery

Rockingham

57

Trees

Elm

59
.

Lake

Bourget

Stow

on

the

the

On

61

(Soft Ground

Wold

62

Etching)

Ouse

63
.....

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

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PAINTING

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ALFRED

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it.^'.'

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Paint
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sky

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with

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lies

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COLOUR.

OIL

IN

PAINTING

LANDSCAPE

know

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know-

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greater
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ALGECIRAS.

ALFRED

Gallery.

EAST,

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A.R.A.

LANDSCAPE

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COMPOSITION.

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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

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and

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OIL

IN

PAINTING

LANDSCAPE

36

COLOUR.

This

of form.

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COMPOSITION.

painting the subject;

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LANDSCAPE

38

This

facing p. 39).
frittered away

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PAINTING

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LANDSCAPE.

From

the

Photograph

Painting

by

by

Neurdein,

COROT

in

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the

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THE

From

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the

FROM

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by

by

THE

RUBENS,

ndcrson,

FIELDS.

in

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the

Pitti

Palace.

LANDSCAPE

40

that

do

they

the

in

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a

of

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and

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COMPOSITION.

necessitated

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only

There

making

your

of

painters

are

41

studies, it is worth

many

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LANDSCAPE

42

PAINTING

IN

OIL

COLOUR.

the distances

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A

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V

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MORNING

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COMPOSITION.

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43

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LANDSCAPE

44

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CHAPTER

VI.

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PAINTING

LANDSCAPE

48
after

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Queen

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Britannia."

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LANDSCAPE

50

because
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rrr""

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

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the

dignity,
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writers

writing

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one

and

verdant

the

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business,
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joy

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our

intimately

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continue

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of

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wayfarer
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speak

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quality.

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to

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of

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rain,

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of

horizon

hundred

in

love

story

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to

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same

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of

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of

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or

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LANDSCAPE

52

PAINTING

simple, dignified,and
they deserve,

and

into

their

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or

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of

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of

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MORNING

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The

PAINTING

LANDSCAPE

54

of

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can

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leaves.

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IN

PAINTING

LANDSCAPE

56

other

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LANDSCAPE

58
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6o

LANDSCAPE

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LANDSCAPE

62

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VIII.

CHAPTER

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THE

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LANDSCAPE

66

the

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68

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SKIES.

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of

69

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How

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at

PAINTING

LANDSCAPE

70

any

definite

particular picture, because

rules
there

on

cloud
are

so

forms
many

SKIES.

which

factors

all

upon
the

by

of

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71

fine

your
attained

picture.

sky

CHAPTER

IX.

GRASS.

would

character

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into

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How
72

is

meadow
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of

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now

majority
upon
blades

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of

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!

long
The

AFTERMATH.

THE

FROM

THE

PAINTING

BY

ALFRED

EAST,

A.R.A.

PAINTING

LANDSCAPE

74

will

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GRASS.

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75

revealed

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in

the

PAINTING

LANDSCAPE

76

shadow

shadow,

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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

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.

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

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

both

in

reflection

of

by

the

background

of

its

by

reflections.
the

swift

more

facts

simplest stage

light-coloured pole standing

almost

contortions

and

objects

examination

an

but

like

sea,

rapid

phenomena.

treating
be

object,

individual
of

of

you

or

same,

inter-action

of

surface

lights

simple

can

would

of

reflected

by

of

drawings

involved

agitated

impossible

forms.
series

the

of

colours

mutual

sun

clouds,

affect

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

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

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

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

across

trees

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

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.

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

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

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

cloud,

rosy

parts of
is

than

white

puzzling

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

comment

inquired the

"Why?"

no

would

its

made

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

with

paint;

of

it to

combined

cow,

air, had

idea

much

ending

mystic

Innumerable

heavens.

the

Beyond

One

colour.

rose

sky immediately

another

feet.
the

most

sublime

Hara,

my

pitch

composition.

the

of

and

make

and

contribute

of

at

peak,

snow

flat

higher

conveys

your

may

Lake

rushes

of

the

flat tone.

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

general arrangement
Roofs

of

one

certain
colours

the

actual

the

than

shade

lower

COLOUR.

OIL

IN

on

are

wet

repeated

reflects the

accepting others.

REFLECTIONS.

On

the

from

in

probably
of

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

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

in

on

an

one's

Alpine
memory.

partiallyby words,

its

thoroughly

before

colour

of

always

with

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

which

be

may
less

much

By

hardness
what

glow

reflection

ground.

light

sensation

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

looks

circumstance

this

which

of

glare

their native

conventional

"

in

street

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

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

Without
I

boat.

submerged

changing

its

and

branches,

before

my

will

you

The

other

reflection

of

the

the

should

set

that

in

ribs

and

will
river

seats.

my
the

Upon
of

eyes,
same

and

tree

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

is

reflections

of

position,

the

you

have

you

on

perceived

reflection

sky

of

factor

but

nothing

saw

Note

the

colour

streets, and

wet

of

within

street, there

light
also

aggregate

how

sun-lit

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

leaves.

reflection

water

of

IN

white-washed

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

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

touches
ferrule
it

king;
It

the

in

decorative, who

to, and

picture.

your

easily forgotten

so

adds
I

it illuminates

the

of

edge
It

Nature.

ever

If
of

is

faces

one

which

soul

It

presence.

his scheme

grass

the

diamonds.

of

glistens like

gives

readily when

quality

dank

which
by reflections,

light makes

necklace

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

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

The

values.
to

think

house

of

it is

that

fact

sense

Nature

making

begin

express
case,

an

of

how

knowledge

colour

such

is

in

of

so

figure,

or

I say

frequently

we

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

should

we

distance

how

but

this
that

from

us

We

colour.

to

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

is

it

be

often

the

see

distant

the

patches

or

to

on

varied

thousand

which
may

distance

the

country

sun,

be

in

under

distance

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

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

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

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

the

blue-purple

were

heat

of

glamour

scintillates

and

started

mid-day, whilst

gold

in

through

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

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.

DISTANCE.

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

the

and

Nature

will

charms

endeavour

and

then

the

the

sky

line.

natural

We

the

hillock

this
close

of

distance,

field

it

hard

Distance

the

under

any

which

distance

landscape,

the

to

all

demands,

that

of

paint

grey

in

enough

beautiful

has

their

lay

or

it

attempt

effect when

an

subject

in

lover

of

may

be

river

middle

skirts

know

material

is, of

familiar
to

the
we

upset.

that

fact.
feet.

our

foreground
find
It

we

to

grey,

and

elevation

us

lower
level
of
not

at

grass
the

take

test

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

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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

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were

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day

one

shadow.

in

only

every

thing

later

satisfactoryresult, but

the

picture

had

you

this

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finishingthe

that

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you

time

fallinginto

now

The

were

and

was

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in

that,

hesitation

minutes

correcting the

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them

of

false.

short

painting

sketch, they

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

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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.

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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"

PAINTING

had

induced

contend

with
of

in

canvas,

painting

have

you

If, therefore,you
five-

six-foot

or

place, make
When

big

stick

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

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

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

broadly

contours

See

you

should

readily by

more

as

off the

starting. That

shoulder, with

masses

brush

before

plenty

part

start

satisfactorily,

so

it

get

that

rapid change.

charcoal, using

drawing

large

your

area.

it.

your

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

of

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

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

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that you
You

know

should

and

to

half

elect

else.

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make
to

familiarise

to

for

block

in

should

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finished, that

it

study
there

is

sketches
your
with

in

colour

the

of

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

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contour

pleasant

of

ceed
pro-

strongly advise

and

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it

things

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the

of

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intimatelyacquainted
put together,and

it ; and

other

not

is the

that

it,so

effect

of

the

not

cannot

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that all these

drawing

days,

some

of

colour

of

is

you

secure,

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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

the

to

forming

grass

merely

large picture,I

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

insist

of

shape

For

the

of

remark

paint

begin

trouble

the

paint

picture you

not

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

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

same

lower

one

in

go

paint

to

of

advantage

Confidence
of

the

obtained

by

be

all the

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

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

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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

that

means

I can,

another

one

in art, it

struck

paint

can

explain

to

the

have

correctly

necessary

never

"

have

you

as

played.

other

to

near

Nature,

covered

compared

exactlyof

key.

new

as

term
as

picture as

relation

same

the

another

to

must

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long

if it is

use

passage

tune

my

we

my

passage

in the

reach

must,

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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

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

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

or

process

finished

have

zinc, although it

qualitylays it

courses

only superficially
so,

on

the

large picture from

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

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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

carelessness

see

upon

of

case

in

of

will

any,

to

method

which

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

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

gives

from

sixty paces

fiftyor

If

simplest proportions.

colour

of

masses

resulting harmony

observed) how

its

its

high key (and

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.

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

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

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

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

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

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

by

appear

such

by

The

grades

colour

your

colour

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

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

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

"

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

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