The frequent practice of covering down, veiling, or concealing an object or figure, because they cannot draw it, and doing that so inexpertly as not to escape detection, is frequently observable in the works of modern artists; such as clothes, baskets, &c., thrown across a horse, to conceal its deformity; unnecessary or affected drapery over a figure; a cow, half buried in weeds and dock-leaves, that its shapeless legs may not be seen, &c., with many other artifices to evade difficulties: to such he says, 'If difficulties overcome make a great part of the merit of art, difficulties evaded can deserve but little commendation.'
It is by no means an object with me, neither has this work pretension to the form of a regular treatise (too often prolix and abstruse in their investigations), but I would endeavour to bring together such useful hints as occur to me in its progress, as practically useful, without confining myself to the regularity or connexion of a lengthened dissertation, and seeking only to accomplish the end by explaining the means of contending with difficulties where they are likely to occur.
OF ANGULAR COMPOSITION.
That the angular form is one of the best adapted to composition, at least in landscape, is indisputable; the diagonal line dividing the whole into two halves, gives the largest space for the distribution of light and shade, as well as extent for the design.
When the whole composition is placed on one side, a single object—but stronger in colour than the rest—placed at the opposite side, will generally be found sufficient to balance all on the other, however complicated or extensive in its details it may be. ([Plate 1, fig. 1.])
More repose and softness is obtained by uniting the composition with the darker shadows of the clouds, than by opposition.
On the other hand, an harmonious and agreeable whole is often achieved by bringing the line of the clouds in an opposing angle to the line of the landscape, the principal figures being then mostly placed at the opposite side of the mass of the composition.
The first plan embraces an advantageous union of the parts with the greatest breadth that can perhaps be obtained, while the other frequently produces a dexterous effect by the opposition of colour.
A long stretching swamp, a bog, or line of sandy waste, marshes, a broken heath, the distant sea or sand-bank, with nothing but its straight horizon, are the sweetest morsels to good painters; for when nature has done nothing, they must do all; and, with these difficulties to contend with, it is something surprising to see the most broad and beautiful productions result from so barren materials by investing them with the all-controlling powers of chiaroscuro, by a careful inspection of their natural colours, the forms of their lights and shadows, and above all, the shapes and masses of the passing clouds; but variety and simplicity should ever be their leading principle, and grandeur is sure to be the result. Matter, seemingly incapable of form; wide extents of pathless and unbroken sterility, of nakedness and desolation, will become beautiful and masterly arrangements on these conditions: the torn, and ragged, and scattered fragments of the clouds in their wild and rushing fury over the sea, with its inexhaustible changes and endless variety of colour, are the objects painters often choose, from their very seeming nothingness, to invest with the beau ideal of art.