That I have personally refused to follow either Mr. Ruskin or the example of
the men he places on so high a pinnacle—I am now referring entirely to their
technic—is due to my having painted all my life out-of-doors, the best place in
which a man can study nature at close range. This experience has taught me that
weight and solidity are as important in the rendering of a natural object as air
and perspective, and that the staining of paper with washes of transparent
color does not and cannot give them. cheap oil paintings
Nor can any brilliant light, a crisp, snapping light—a glint of the sun's rays, for
instance, on the break of the surf, or on the round of a glossy leaf, reflecting
like a mirror the opaque sky—ever be achieved by careful working around the
edges of an unwashed speck of paper—the transparent man's only means of
expressing a high light.
Nor will a single dab of Chinese white produce the effect of it, should it be
the only dab of opaque white in the composition. The result in this case
is still worse, for if transparent color has any value when uniformly
distributed it is in the expression of air and perspective. The dab, then, is
instantly out of plane, as it comes nearer to the eye than the transparent wash
about it, and the illusion of distance is accordingly lost. art oil paintings online
But another and quite a different thing occurs when the opaque colorforms
part of the whole, the two systems blending each with the other. To
illustrate, my own experience has taught me that in nature whatever the sun shines
upon is opaque. The façade of a cathedral, for instance, facing a sky
where the rays of the sun strike it full is opaque, while the angles of the
architecture, casting shadows large and small into which sink the blue
reflections of the sky or the reflected lights from near-by objects, are
invariably transparent. art oil painting reproduction
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