Page 1


THE

ART

OF

LANDSCAPE

PAINTING

OIL

IN

COLOUR

BY

ALFRED Associe

Soctete

A.R.A.

EAST, Nationale

des

Beaux-Arts^ France^

etc.

WITH

ILLUSTRATIONS

AND

BLACK-AND-WHITE

PHILADELPHIA

J.

B.

LIPPINCOTT

COMPANY 1908

IN

COLOUR


ND

/

"


f^'^^O

DEDICATED

TO R. H.

Ml04{)13

MY K.

FRIEND


PREFACE.

will

IT

write

to

of It case

at

reader

is, of before

been

and

schools, of

his

how the

their

closely

they

technicalities

yet

be

any

school

of

such

should

art.

be

Nature.

aim,

My

certain

the

tions consideraof him

to

our

in

the

my

not

neglect

chief

endeavour

of

the

be as

the

wider

an

with the

that

in

work of

be

to

the

point

out

the

of

well

However

Beyond

problem

master. on

ability,

technical

artist.

a

lacks

hints

necessary will

matter

no

:

their

her,

the

of

technique

the

knowledge.

one's

failure

of

many

Nature

imitate

associated

may

great

a

towards

to

employing

lies

of

he

methods

the

may of

expression

real

art.

A

and

art,

student

there

painting of

shall

complete

a

rudiments

curriculum

something

attitude

always

I

of the

grounded

the

assistance

of

cause

know

seek

may is

of

method

best

the

that

granted

of

student

in

be

the

who

false

which

while

Therefore,

the

place

a

that

those

is

vitality

before

in

painting

for

from

paint

to

should

opinion

failures, amongst

painting,

that

pages

development.

of

am

find

which

at

necessity

place

not

acquired

made

is

to

do

be

absolute

attempt

it

practical knowledge

a

may

an

any

which

I

as

course,

progress

least,

at

landscape

taken

have

I

of

art

these

in

attempted

not

the

on

stages.

such

drawing,

have

I

length

any

has,

therefore, has

art

that

elementary

its the

found

be

in

boy

learns

after

reckoning

life

which

at

he is

probably better

conventional

the

school

for

discovers

suited

to

his

rules himself purpose;

arithmetic,

of a

but

system

of

had

he


viii

PREFACE.

first learned

not

have

been

is of

brush

then

Assuming technical and

easily as

as

knowledge,

and

wherefore

his

attention.

of

honest and

and

All

painter, and

in

aspects, and in

all

by

which

about a

he

art,

species

There

practice and could

So

a

the

very

the

secure

secret

"

his

considerable

printed that

cleverness,

on

the

subject

erroneous

The

one.

its exponents,

is

of

trick of the

"

of

opinion

such

powers

of

ficialities. super-

landscape reward.

in

be the

that

art

the is

attain be

partly responsible for

present methods world a

by

trick, mere

if

assured

painter

one

and

trade." has

at

that

all,may

it is

treatment

this

error

at

of

been

probable

decide

landscape painting varied

broader

her

unsatisfactorymatter

fact that

receives

will

sure

in

landscape painting any

a

eminent

some

this

the

must

may

of

individuality

finds

would

success

amount

of

he

work,

mere

discover

long,

trust,

result

his

Nature

anyone

confidence

student, if he forms

personal expression,and of

that

peculiar an

find

will

study

which

to

I

his

as

to

why

escaped

a

beyond

belief abroad

curious

a

perseverance;

only his

is

as

end

quicken

what

express

the

to

his

of

higher attributes, which

best

can

of

he

will, probably before

he

it

necessary

to

for

interest

an

look

ideas

hitherto

mark

such

to

induced

her

grasp

have

work,

possession

be

search

to

will

qualities are

their can

to

him.

learn

these

student

the

him

help

with

him

to

present

larger

a

draw

to

suggestions will,

after

his

for

able

pen.

expression

an

"

striving

enthusiasm

observation,

and

qualitieswhich

conviction

to

may

outlook, give

The

his

which

be

adequately equipped

him

lead

his

character.

If

will

things

it with

is

is

thoughts

personal

increase

desire

my

his

uses

student

Such

gradually widen endow

the

which

suggestions

and

that

writer

a

not

painting. Technique

artist should

The

could

system

own

it is with

So

highest importance.

his

with

rules, his

easily evolved.

so

the

fundamental

the

upon

is such the

a

hands

judgment.


ix

PREFACE.

student, puzzled by

The

Claude

or

it

I have

"that

he

ignorance

I

of

such

find

to

the

examine and

it

how

a

is that

to

judge

had

the

been

of

that

they are that

life and

looks

has

by

come

masterpieces of art

are

similar

govern B

one

the

widely in art

their of

quality there. thought

and

copy

the

artist

mind

by

He

subtle discover

to

daub

from

distance.

a

standard

complex,

artist

In he

which

yet

artist has

is in confusion.

a

close

at

pictures,and

more

be,

may

more

qualitiesthe

equally great

an

find

a

the

and

more

his

but seen

great

it to

knowing

not

endeavour

may

(one

master

theories.

will

nothing

grows

to

he

when

of

his

rest

being

analyse

problem

established

to

He

into

of

he

Claude.

of

notes,

as principle,

which

which

work

trustworthy)he The

be

in the

art, and

of another same

Turner,

and contradictory,

more

also

great picturesome

a

that

which

that

The

expressed.

Poussin

may

perplexityhe flounders,

on

altogetherignorant

remain

and

of

that

make

may

Corot

his

In

and

of principle

find

to

The

his

basis

method

quarters, grows He

find

himself,

be?"

Claude

and

to the work

turn

may

in

sure

than

elusive

while

fundamental

a

in vain.

universal, and

where

that

a

the other.

with

reason

can

at

Corot, and

a

discoveringin

school),expecting

But, alas ! he seeks is not

that

student

a

he takes to be

different

a

how

look

may

ignored in

be

may

precision,Turner

discoveryhe

of that

expressing

mysteriousgeneralisation.

qualitywhich joy

or

to

appear

great; but

are

their

in

imagine

can

Turner

a

understand

cannot

their

right in

at

which

one

artists

right

be

then

highest authority,"he

the

on

all these

may

the

of

instance, he

For

governed.

are

Poussin, and

a

in principles

certain "

all

which

methods

different

many

in tracing the underlying principles difficulty

considerable

Nature, finds

by

so

(and

more

trying thought

therefore

grief.

musical different

composition by in

adherence music.

motif to

So

the in

and

the

construction, but

fundamental

like

exponents

manner

principles the

varied


PREFACE.

X

of

expressions

the

underlying

works

spiritof his

to

looking

and

influenced

is

predisposed

even

style

the

peculiarlyaffected short, he

will

Nature

see

formalisms.

entirelythrough

other

eyes

conception of

the

mind.

one

turned

Corot Nature their some

and

and

painter,however

elude

which

others such

glorious

Nature

revelation

for

hand

in

a

work

errors

it may

of in

appear

it.

art, the

has

Believe blame

"

not

before

him

so

much

towards the

the

Nature. most

due

but

be

matter

If

wonderful

he

the

sive exclu-

Nature

Poussin

and

Turner

and

be

to

eye

fault

of

from

charm,

some

the

found

one

Nature. "

see

may The

contradictory

technique a

is

expression of

lie with to

he

is, that

painterstook

message, has

of

grasped by

which

whatever

me, cannot

in

by

the

some

landscape painting are

painter'sattitude out

for

individual, if he

each

record

to

wanted

that

"

be

to

These

account.

And

art.

but

them,

In

powers

be.

may

truth

he

the

sky.

is not

revealed

are

;

own.

insist

Nature

her

carefully

the

own

his

great he

all

aspects that

are

feelingin

spreads

for

variations

her

to

of

beauty

they

greatest

the

truth

he

Eventually

than

I would

which

just exactly what

the

find

upon

one

There

and

Claude,

as

in

boundless

point

the

possessionof too

his

these

one

that

them

see

against

in

is

there

But

faith

his

perception to

her

repetition,and

sacrifice

slave, and

a

biassed

so

tree

a

can

their

branches

the

of

he

masters,

discover

of

contours

leaves

strange,

mind

a

anything in

see

the

for

old

to

as

become

may

the

of

far

so

go

looks

with

man

and

Nature

he

If

to.

a

himself

seem

may

noted

and

find

length

spectacles. It

covered dis-

having

methods,

at

may

than

letter,rather

student

technical

work,

their

approach

to

in

arranged

direct

their

the

A

masters.

their

principles

the

in

mentioned.

have

studying

possible,for

it is

yet nevertheless

in

great

through

Nature

at

I

masters

satisfaction

own

of peculiarities

all the

may

of

reconciled

are

danger

works

the

art

of the

yet another

is

There the

landscape

as

in

realist,Nature

objects,whose

beauty


xi

PREFACE.

is revealed

to

his

in

which

at

the

the

his

her

be

to

fearlessness

and

his

he

must

imitate

and

solved, and

To

He

man.

those

he

may

not

holds

in

evidence

The

and

fine.

and

wants,

is

lies

his

tiful boun-

so

be

never

can

to

due

to

select

incapacity to

past,

in his

tread

his

them

spiritof

that

Nature

are

still to

be

with

his

in accordance

for himself

full

a

in

path

there

Problems

out

accept the

to

humility, assured

particularuse.

work

to

man

prepared

must

the influence

judgment by

it is for every be

artist will

true

no

previous authorities,nor

upon

to

He

the

to

No,

art, and

to

vocation

be

is

no

learn

to

but

;

to

be

his

lack

strive of

those

their

that

student to

of

student a

towards

has

great

power

him.

upon in

masters

is

the

independence of outlook,

craftsmanship.

the

creative

of

may

itself does

If Nature

higher qualitiesthat

then

construct,

after

the

small-minded

attitude

their work

emulate

to

of the

of his servile

overbearing influence

royal road

other, the

only

resort

fullyconscious

standard him

is the

copy

high respect,

in life is not

There every

work

work,

great

to

should

aim

high

suggest a

the

their

their

not

must

of

student's

spirit of

in

he

manner

ideas.

own

in

biassed

solve

the

offering.

confidence, yet with

and

is for him

owing debt

work.

his

student

before, Nature

work

man's

a

unduly

in

salvation

own

romanticist,

a

that responsibility

the

said

I

generous

works, however

for responsibility

an

As

rely unquestionably

to

himself

of their

be

for what

look

him

upon

acknowledging our

content

he

the

to

to

rather

is

out

how

;

of

poverty

material, but

While

allow

Nature

of material.

selection

of

point

impress

time

same

judiciouslyfrom be

would

I

study

to

that lack

So

heart.

in the

If

again just the specialqualitiesthat appeal primarily

furnishes

she

delineation.

faithful

their

by

always present

are

rest

assured

that

his

landscape painter.

in art. must

draw,

In serve

to

this before

department he

can

of

life,as

govern.

paint, to observe,

and

He select.


PREFACE.

xii

And

it

that

he

is

a

that

purpose

of

the

similar

with

see

his

labour

is

help

service.

with

minds

free

their

beautiful

love

mode

I

will

of

Nature

of

human

and

the

in

and

that

language

expression

that "

of

to

who

and

time

does

be

determine

to

the

of

perhaps

landscape

not

that

of

some

patience,

with

ability

his

generosity

difficulties

me

is

student

to

which

the

those

prejudice, pleasure

a

of

to

the

wasting

enable

may

passed.

have

very

that

for

;

that

certain,

come

of

danger

a

painters

bias

her

spite

in

essential

are

knowledge

My

am

from

them

to

masters,

is

"

help

to

that

non-essentials

landscape this

of

But

there

of

offer

to

hindrance.

of

path

the

beset

since

that

things

much

so

selection

positive

a

the

distinctive

fellows

they is

pages,

personal

of

art

his

of

which

through

following

eyes

snare,

the

in

the

has

a

prove

may

in

his

that

perseverance

stamp

make

to

above

training

own

Nature

purpose.

work

of

then,

object,

My to

course

The

order

in

his

raises

increasing

worthy.

itself

manifest

must

purpose

anything

achieve

can

and

application

close

by

only

become

ing expressthe

most

painting.


CONTENTS.

CHAPTER

I. PAGE

Attitude

Nature

towards

.

CHAPTER

II.

Equipment

Sketching

Pencil

from

Drawing

CHAPTER

III.

CHAPTER

IV.

Nature

from

24

Nature

CHAPTER

V. 32

Composition

CHAPTER

VI. 45

Colour

.."""""

CHAPTER

VII. 51

Trees


CONTENTS.

XIV

CHAPTER

VIII. PAGE.

64

Skies

CHAPTER

IX.

72

Grass

CHAPTER

X.

77

Reflections

CHAPTER

XI.

83

Distance .

XII.

CHAPTER

Selection

and

Treatment

of

CHAPTER

Painting

from

Nature

a

Subject

87

XIIL

93 ....


LIST

OF

ILLUSTRATIONS.


LIST

XVI

"

Valley

Midland

A

The

A

the

from

Gleam

To

Venice

of

Sun

Venice

ILLUSTRATIONS.

OF

Lagoon.

before

Out

Going

the

to

From

a

Sea."

By

J. M.

W.

Turner,

face

R.A.

p.

87 92 92

Photograph

.

.

.

.

Storm

94 ........

the

After

Fete

Autumn

%

Valley

the

in

of

the

100

Ouse .......

Evening

the

in

Cotswolds

104 .........

PENCIL

Sketches

"

for

The

SKETCHES,

"c.

Page

"

Avenue

25,26 29

Morning ....

Ash

Trees

Chateau

on

the

Stow

Road

31

Gaillard.

33

Rockingham

53

Near

55

Chambery

Rockingham

57

Trees

Elm

59 .

Lake

Bourget

Stow

on

the

the

On

61

(Soft Ground

Wold

62

Etching)

Ouse

63 .....

A

Coming

NOTE.

Storm

The "

(Soft Ground

Copyrights

of

all

are

Etching)

the

Paintings

strictly

67

and

reserved

Drawings by

the

by

Artist.

Mr.

East,

here

reproducea,


.?

"*iSfBir^'^-jte"""^J^Bga

MISTY

FROM

MOON

THE

PAINTING

RISE

BY

ALFRED

EAST,

A.R.A,

it.^'.'

..aai

".

"if.

ijSC-

*"

.iffl


LANDSCAPE

PAINTING OIL

COLOUR.

CHAPTER

ATTITUDE

YOUR

towards

time

confident.

one's

up Stand

to

confident and

and for

go

Look

long

made Do

not

to

go

work

your

is

no

interesting

millions

of of

one

should

of

imitation c

her

task, but the

her

ease,

an

surface.

a

it

and

as

it

;

a

in

is

of

his

Although

is

in

love.

fatigue

with

this

infinitely higher

respect

is

know

yet

direct it

quality

an

should than

and

ing approach-

life with

and

One

confident

not

simplest developments, spontaneous

have

fashion.

attempts

we

want,

you

of

a

Nature.

manly

labour

expresses

in

of

when a

n^an.

you

labour, something

great

She

directness.

then,

painter

evidence

Nature.

be, and

Art

revealing

Nature,

in

behind

years

apparent

your

the

of

sense

a

gets, after

wanted,

fatigue

confidently

Nature

of

if he

and

it

work

what

observation

keen

a

a

shoulder

your know

giving be

"

the

at

without

Nature

from

you

carefully,

as

the

once

and he

what

is

express

knowledge

spontaneous,

and

mind,

at

immature

There

consider

that

her

before

paint

feeling

respectful, but

love

grovel

and

with

fearlessly,

be

should

not

draw

her,

at

detect

can

it

your

up

Do

fashion,

manly

should

One

and

work,

NATURE.

Nature

authority.

your

I.

TOWARDS

attitude

same

IN

apparent. curious

a

there the

are

result

effort.

So

resemble the

mere


Paint Nature the

made

was

should

keep

closer

the

at

or

picture

from

your

sky,

your

in,hand

all

like

n.6 diseortient line

governedby form

a

to

get into touch

question

her.

we

Take her

about

effect.

You

will

in

with

Nature

of

the

taking

hour, for time

you

read

in I

find

gained that

the know well

if

that

in her

in

of

one

can

your

Nature.

a

what

something

the

of

observation

the

bones do

alter

in

and

for

action.

all the

moods,

but

its

form

the

instance,

day

every

peculiar

for

than

a

the

ought the

of the can

you

no

body

to

I

month,

of

characteristics

of

suit

end

same

things.

It is of

before.

the

at

the

sky

of other

so

every

will, in the

you

sky is,at of

more

to

of

more

of possibilities

morning,

every

One

one

sympathy

and

any

out

muscles

Art

in

learning

under

do

the

; and

tree

a

sky

from

of expression. possibilities

her

will

intimate of

power

in

see

sufficient

is

It

unduly

or

tradition

of

in the most

many

my

will

they

ruled

pictures,but

value

finding

paint

draw

I

be

she

matter

no

knowledge

names

Keep

false notes,

no

you

from

here.

and

work,

latest scientific book

escaped

what

to

learned

some

had

trouble

have

that

all

them

on

great deal that will be helpful. For

a

weeks,

the

finish

orchestra.

be

what

Art

The

in

succeed

few

a

Work

Have

not

by

of

and

what

her,

time, know

Art, but

means

of

not

must

you

discuss

not

expression of beauty

course

don't

;

an

conductor.

ideas

will

methods

all

masses

like

you

being.

first.

tone

business.

your

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COLOUR.

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IN

PAINTING

LANDSCAPE

2

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LANDSCAPE

4

You

materials

find, and

in

forward

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responsiblefor Nature

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TOWARDS

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love


CHAPTER

II.

EQUIPMENT. selection

the

IN

and

comfort

a

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of

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at

should

be

its on

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an

mind

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lengthened at

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impossible. perfectly


LAKE

From

BOURGET, the

Painting

FROM

by

ALFRED

MONT

EAST,

REVARD.

A.R.A.


EQUIPMENT. firm

upright and the

reflection of the

As

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moving

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to

into

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"

7

a

gale the or

of

of

earth lower


LANDSCAPE

8

the

PAINTING

picture at will, and

it

IN

be

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placed

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COLOUR.

angle

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fine


EQUIPMENT. texture

over

afterwards

is advisable

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of formalin. the

atmosphere

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LANDSCAPE

10

screw

should

contain

colour

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FROM

GIBRALTAR,

From

In

Painting

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Walker

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Art

ALGECIRAS.

ALFRED

Gallery.

EAST,

Liverpool.

A.R.A.


FROM

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PAINTING

LANDSCAPE

28

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PAINTING

LANDSCAPE

30

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V.

CHAPTER

COMPOSITION.

the

PERHAPS qualities

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authority 32

venture to

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CHATEAU

FROM

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THE

PAINTING

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ALFRED

EAST,

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IN

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34

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COLOUR.

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COMPOSITION.

material

the

causes

dimension.

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35

steelyard,the

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OPULENT

From

In

AUTUMN.

the

the

Painting

possession

by

of

EAST,

ALFRED

Sir

John

Brunncr,

A.R.A.

Bart.


COMPOSITION.

painting the subject;

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LANDSCAPE

38

This

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LANDSCAPE.

From

the

Photograph

Painting

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COROT

in

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THE

From

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RETURN

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THE

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COMPOSITION.

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LANDSCAPE

40

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COMPOSITION.

necessitated

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LANDSCAPE

42

PAINTING

IN

OIL

COLOUR.

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MORNING

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COTSWOLDS.

THE

by

ALFRED

EAST,

A.R.A.


COMPOSITION.

in the

and Cotsvvolds," frontispiece,

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43

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PAINTING

LANDSCAPE

44

art

disposal

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the

sentiment

composition, be

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EVENING

FROM

IN

THE

PAINTING

SPAIN.

BY

ALFRED

EAST,

A.R.A.


CHAPTER

VI.

COLOUR.

the

of

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WHAT meaning

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and On


46

LANDSCAPE

side

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PAINTING

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PAINTING

LANDSCAPE

48 after

it

could

He

"

Queen

and

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Britannia."

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LANDSCAPE

50

because had

know

you

the

the

it,

accept a

costumes,

seas,

become

of

pleasure life

faculty

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Life

of

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the

old with


rrr""

A

FROM

MEADOW.

BERKSHIRE

THE

PAINTING

BY

ALFRED

EAST,

A.R.A.


CHAPTER

VII.

TREES.

TREES they the

from

They

could

sing

we

tree, in with see

or

the

the

the

lip

and

favourites noblest

of and

grace, and

does, here

how

beauty. difficult, how

knowing caressing

standing

out

is

so

well,

enfolding

against

the

them

feels

the

sky

homes on

51

some

the

;

traveller of

of

on

Wordsworth, have

their

poplar their

of

to

loving

them

upland,

the

dignity, them,

paint

mankind,

wide

palms,

beauty

wonderful

how

rowan

associated

oasis

black

however,

songs

the

writers

writing

finds

one

and

verdant

the

called

business, one

the

King,

many

does

joy

the

our

intimately

These

continue

our

of

Shakespeare,

them.

wayfarer From

How

their

!

he

the

ash,

sand,

in

ocean

of

subtle

them and

the

could

It

hot

of

when

had,

events.

what

have

They

great

are

only

generation

love. and

land, they

the

after

king

the

are

They

are

coronation

oak,

With

speak

One

trees.

the

rising

of

others

the

They grave.

They

quality.

man.

them

Balzac

as

of to

desert

the

to

of

the

meadow,

trees?

Generation

rain,

every

of

horizon

hundred

a

in

love

story

the

to

are

history.

same

From

trees?

see

the

of

cradle

monumental

dreary

sailor

the

mementoes

as

this

requirements

across

not

Arimathea

of

language,

every

the

of

does

stories.

and

sun

planted

fulfilled

flowers

of

the

to

Joseph

have

they

old-time

of

the are

of

landing

from

what

incidents

listened

sheltered

Who

us

and

events

have

alike.

it.

with

living recipients they

landscape

decorate

associated mark

the

to

are

as

they or

one

are,

there

strong,


LANDSCAPE

52

PAINTING

simple, dignified,and they deserve,

and

into

their

moods,

from

them

their

or

in

of

the

of

kindliness, he

I

should

the

described

of

shape

their

branches,

I must

painted.

The

is

of

one

You

have

shape

colour

and

character.

of

the

your

something

like

the

next

crown,

sixpence,and each which

After

which

to

speak

a

be

of

how

of

picture as you

it

over

like

the

first

threepenny-piece.That to

a

step

paint

your

nearer

tree

the in

them

the

smaller

florin,the

a

the

should

be

think,

I

is

how

with "

like you

relation

so

to

a

shilling,a

paint of

"

on,

like

broad a

in

with

and

masses

the

lay

sub-masses

realisation exact

in

whole

painting next

their

consider

to

the

simply, as

the

;

quantity,the

the

have

blocked

have

"

and

supports

they

to

next

coins

the

art.

then

of

you

conditions

against the sky,

picture; pile

that

contours,

trunk

painting,paint

a

to

their branches

under the

trees

now

you

in

seen

will learn

the

draw

next

at

painting being must

in

;

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attempted

different

under

shadows

your

trees

your

The

have

you

the

may,

of

rest

the

landscape,broadly and

your

be, you

must

of

their

art.

means

should

problems

already designed

and

this

painting of

difficult

most

for

the

greater knowledge for painting

you

attempt

place in

pencil drawing

growth,

manner

now

space,

rest

how

successful

the

their

obtain

These

them

have

torn

growth,

new

some

;

position in

branches, and

construction, the

trees

All

By

has

statelydignity.

on

enter

can

first

loves

another.

their

of

the

to

He

of

respect

adornment.

summer

their

of trees.

we

winter

rude

entitled

chapter

environment, and

Having

their

the

that

the

spring gives them

love

some

in

peculiar characteristics

them.

this

with

well

the

of their are

place and

all kinds

of soil and

the

for

expressed

suggested

draw

when

COLOUR.

them

so

landscape painter.

essential

have

it be

Nature

quality, and

realise the

them

respects them

landscapistshave one

know

splendour

the

OIL

treat

us

when

or foliage,

nobilityof

consideration

them

to

whether

the sumptuous

peers

Let

great.

learn

IN

a

tree,

your

aim,

the

land-


MORNING

From

.MONTREUIL.

AT

the

Painting

by

ALFRED

EAST,

A.R.A.


.It'

^i;^" -'

''


in

scape of the

Trees

They

much

vitalityso the

brings In

they

most

strongly felt.

trees

do

they

give

not

marked

are

building, and hear

we

and

the

according

the

against

oak

An

shining.

birch

object

to

Again,

the

one

different

a

a

speed

harder

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hard

appear the

at

quality.

say.

For

example,

touch

your

window

shape side

and

of

The

street

If the

so

but

will

look in

and

you

at

the can

the

a

look

;

you

plane-treeleaves see

the

the

also

lightis different sunshine.

the

sky gives

and

has

so

in

quiver to

recognisethe home

and

glare of

as

course,

very

suggest

the that

of the leaves

the movement

if you

only

Of

instance, trees

at

tree, and

the

truth

plane-tree leaves

London

your look

the

at

than

which

painted

eye follows

truth

slowly

poplars,

Nature live

against

moves

solid

they

which

full

the

leaves

elm

be

must

leaf,you

colour ; but

the

the

against the sky,

individual

in

the

that

For

is

of

a

in

species of trees,

upon

are

livingthing,

realism.

of

setting sun

black

the

greater

those

to

of

impression. air, and

action

edges

a

know

their

against

them

see

effect.

of

bathed

is

of movement

of

characteristic

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we

a

the

to

different

which

than

of

sense

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and

shape

tree

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if

form

higher

a

according

edge

breath

east

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express

lightappear

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to express

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are

flat

painted as

their

photograph,

a

leaves

their

different

the

to

their

time

same

of

whisper

will vary

edges

rest

modelling.

precisionagainst the light,like

the

at

at

of

leaves

here

be

realise the

they

feelingthat

hard

reveal, and

can

camera

the

you

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look

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with

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to

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must

to

me

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are

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sky.

relation

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come

COLOUR.

in exact

tree

a

objects,and

are

OIL

is essential.

vitality.That

their

IN

canvas

your

lighting of

rounded

are

on

This

proper

tones.

and

Nature,

picture.

The

a

PAINTING

LANDSCAPE

54

of

what

which can

on

almost

mark the

I

their

opposite

aggregate of

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'

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leaves.

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phases, this

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of

details

as

the

round

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edge

where

paint

edge

reflection, and

positions of which

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a

abhorrent

are

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leaves, you

desirable

to

another

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and

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combines

leaf

obtain

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are

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all

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instance, while

angle

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and angle of reflection,

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edge

sky,

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revealed.

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movements.

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its

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reflects

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poplar.

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surface, and

bear

we

time.

be

means

ourselves. of

of

movement,

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reflective surface

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a

colour

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against

are

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thin

the

and

moment,

a

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are

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surface

reflective

form

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a

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more

for

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of

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from

one

neighbour

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action

actual

aggregate

an

So

life.

beauty

affording us

moving

are

so

were

than

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as

again the

its

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real

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truth, that

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that

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IN

PAINTING

LANDSCAPE

56

other

sense

act

of of

living beings

are

put them

we

out

sight. I

hard

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remember

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eminent

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edged

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see

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do


^

"

X

^

'^1^


LANDSCAPE

58 You of

is

Nature

needed.

deceived

things

created

does

and If

Nature

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that

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is

at

their

give

to

his

up

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painter cannot

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to

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of

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imitation feels in

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is

willing

directions

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probably pleased himself, but

has

own

need

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is

sit

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simply

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in

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COLOUR.

OIL

IN

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6o

LANDSCAPE

qualify it. Leighton tone

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landscape

a

picture, which, your

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right-angleof

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LANDSCAPE

62

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63

TREES.

THE

ON

to

OUSE.

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expression

of

the

vitalityand


VIII.

CHAPTER

SKIES.

IF

make

you

the

practice

a

regularity

end

of

colour

pastel,but

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at

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half-hour the

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note

64

how

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to

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coldness.

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THE

FROM

LONELY

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ROAD.

PAINTING

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ALFRED

EAST,

A.R.A,


SKIES.

far

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65

whole

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study

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LANDSCAPE

66

the

is

sky

given

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is

of in

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68

diluted

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COLOUR.

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IN

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SKIES.

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69

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paint.

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quality. They

aerial

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a

IN

suggest

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later times, of

or

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fails to

it

How

is wrong.

at

PAINTING

LANDSCAPE

70

any

definite

particular picture, because

rules there

on

cloud are

so

forms many

a


SKIES.

which

factors

all

upon the

by

of

pool the

the

local

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in

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chapter

and

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you

go

"

on

its

immensity,

qualities,

to

Reflections

to

up

"

(p.

77).

give The

sky,

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and

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worthy

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and

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certainly

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infinity,

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but

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surfaces

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them.

qualify

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govern

71

a

fine

your attained

picture.

sky


CHAPTER

IX.

GRASS.

would

character

Go

into

others

instead

of

because

being

blades,

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them,

and

show

a

rich

a

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field

deep Have

you

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?

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green of

blue

them.

affected

by

the

noticed,

ever

you to

whose Examine

behind

zenith,

face stems

the the

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mower.

sun,

of

here

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and

there

countless of

little

when

a

the

rich

yellow-green when

grass How 72

is

meadow hue

of

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of

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cut

now

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colour,

being

of

cloud. and

mown,

standing

and

and

whether

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light penetrates

is

aggregate

reflections, white

the

grass

shines

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it

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details

passing

a

the

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of

in

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rays

compel

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of

with

look

green

sky

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so

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general

up

penetrates

see

the

of

light

or

of

grass

blades,

and

silvery

the

at

brilliant

leaf

turn

secure

composed.

deluged

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angle

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qualify made

of

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is

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catch

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reaches

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long The


AFTERMATH.

THE

FROM

THE

PAINTING

BY

ALFRED

EAST,

A.R.A.


GRASS.

infinityof

leaves

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73

the will

some

sky, also

blade, some

pronounced.

if

You


PAINTING

LANDSCAPE

74

will

here

see

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GRASS.

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75

revealed

grass, in

the


PAINTING

LANDSCAPE

76

shadow

shadow,

the

that

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effect.

For

blue,

No.

I

grass

plenty

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warm

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COLOUR.

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OIL

IN

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to

and

lower, the

astonished

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find

Nature.

yellow and

white,

ochre, rose

a

French

madder;

long-haired


SUNSHINE.

MORNING

From

In

the

the

Painting

possession

by

of

ALFRED

Sir

EAST,

James

Fairfax.

A.R.A.


CHAPTER

X.

REFLECTIONS:

IF

of

the

difterence turn

it

varied

their

transformations

their

shadows

and

Have

than

watched

anything

quick,

the

render

it

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almost

of

Only

passage,

and

method

the

the

study

the

trees,

green will

see

It

water.

the

which

e.g.

a

has,

the

darks,

we

of

the

in

all

result, and of

lights

Its

to

the

most

attain

diverse,

so

and

thorough

them.

movement

will

of

of

the the

suppose, the

its

shape n

area

a

of

produced

is

so

as

to

mingling inter-

first of

then

mastery

Perhaps

cover

and

persistent study,

passage,

It

baffling

interlacing

its

portray

are

stream?

more

a

both

in

reflection

of

by

the

background

of

its

by

reflections. the

swift

a

more

facts

simplest stage

light-coloured pole standing

almost

contortions

and

objects

examination

an

but

like

sea,

rapid

a

phenomena.

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object,

individual of

of

you

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inter-action

of

surface

lights

simple

a

can

would

of

reflected

by

of

drawings

involved

agitated

impossible

forms. series

the

of

colours

mutual

sun

clouds,

affect

a

themselves.

waves

natural

in

the

the

the

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sundown,

to

various

observe

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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

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among

you

displays

from from

reflections

the

appearance

tints

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derives

reflection

portions

know

the

with

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of

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currents

ocean

cross

you

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to

and

reflect

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it.

land,

to

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due

wind

the

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in

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of

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of

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to

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motions

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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

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to

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Montagu

Pollock, Bart.

a


REFLECTIONS.

all

throbbing pulsation. Nothing

surface Or

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PAINTING

LANDSCAPE

8o

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LANDSCAPE

82

that

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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

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a

before

object,

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someone

!

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always

not

"

This

is 83

we

the

from

unconsciously

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upon

us,

arises

This of

we

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of

do,

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in

sum

shining

as

gazes

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of

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judgment

by close

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values. to

think

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of

it is

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sense

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express case,

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of

how

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knowledge

colour

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of

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figure,

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I say

frequently

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a

of

height, the

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easy

opinion.

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of

scraps

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colour

objects

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to

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simple

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LANDSCAPE

84

scale

appeal to valley,a

a

in form

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to

distance

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sympathy the

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PAINTING

objects,

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than

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in

it into

its his

possible.


tX3^i^"aGHJt

EVENING

From

SONG.

the

Painting

by

ALFRED

EAST,

A.R.A.


DISTANCE.

I

of

know

this

conquer

the

observant

familiar

most

would at

almost

eye,

effects.

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not

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known

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of

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to

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shadows

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eye

of

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and

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will

charms

endeavour

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then

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the

sky

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of

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to

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take

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;

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few

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since

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old

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of

master

no

85

of

latter a

a

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pletely com-

quality


LANDSCAPE

86

to

as

thus

juxtaposed

between

nearest

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the

ochre,

distant

through

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a

yellow

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COLOUR.

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IN

distance

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PAINTING

and

at

treatment

the

that


A

From

MIDLAND

the

VALLEY.

Painting

by

ALFRED

EAST,

A.R.A.


CHAPTER

SELECTION

THE

that

his

in

others

if

but

been

the be

may of

failure.

to

you

may

expressed should

the

or

you

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should

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to, charm

all

find

to

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by

not must

you

paint

express

add

to

of

form

the

a

its

learn

in

into

allusion

colour. 87

new

the

who

this

also

in

mind,

only

conviction

through

to

of

I

should

can,

meanings

or

cessful suc-

expression

difference

domains.

be you

a

that

than)

a

remember

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domain

standpoint,

which

that

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literary aspect.

from

expression,

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but

future.

picture

method

what

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you

a

literary subject,

that

on

painter

Bearing

carry

their

interest

subject,

with

necessarily

stray

literary and

of

have

you

may

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a

subject

to

delights

the

highest

select

and

He

faces

filched

inspires.

painter,

if

in

so

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anxious

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story

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in

arts.

over

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88

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LANDSCAPE

90

PAINTING

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STORMY

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PAINTING

LANDSCAPE

92

am

they

fully may

possibilitiesof


THE

From

"SUN

the

VENICE

"

From

OF

Painting

VENICE"

by

FROM

a

Photograph

J.

THE

M.

GOING

W.

TURNER,

LAGOON.

by A linari, Florence.

TO

R

A.

SE4.


CHAPTER

XIII.

PAINTING

deal

GREAT

A

this

reason

for

extent

a

it

school

faults

and

lethargy, the which

it

years

other

before

Artists effect studied

in

sunlight

upon

them,

from

direct

vision

difficulties

painted were

possible by its

painters

took

method

atmosphere

and

effect

secure

them

the the

illumination?" 93

their

of

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gress proit

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painted

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and

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and

large on

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not

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;

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era

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from

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peasants

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posed

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NATURE.

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arose:

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LANDSCAPE

94

it

Undoubtedly

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full-grown leaves called

with

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appeared, Apples"

!


A

From

GLEAM

the

BEFORE

Painting

by

THE

ALFRED

STORM.

EAST,

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PAINTING

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colours

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relation and

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large canvas

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reached

lights

the

(p.14),

to

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to

sake,

express

little lower

a

right

Chapter III.,"Sketching

had

heaven's

for

start

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LANDSCAPE

96 look

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FETE.

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ALFRED

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PAINTING

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97

impatience to get

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PAINTING

LANDSCAPE

98

do

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LANDSCAPE

100

and

criticisms

with

comparison greatly a an

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AUTUMN

From

IN

the

Painting

THE

by

VALLEY

ALFRED

THE

OF

EAST,

A.R.A.

OUSE.


PAINTING

line

fields appear

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PAINTING

LANDSCAPE

,,!

102

distance, prepared the

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Now

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Printed by

Limited,

Company,

Cassell and

Belle

La

Sadvage,

E.C, Hill,

LuDGATE

London,

22.207

^


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