Wood painting, as it is now en vogue, is of a recent date, and originally sprang out of the idea to imitate the mosaic work of art cabinet-makers.
It may, with consideration for the purpose of the objects to be ornamented, also imitate carving, but must not go beyond the wood tones and the production of the effects of light; it may even attempt to imitate enamel work by the application of strong, bright colors; but it ought at the same time be in keeping with the purpose the object in hand is intended for, and never involve itself in contradictions.
Its refined field should always remain the imitative, and should therefore confine itself as near as possible upon the application of ornaments with a surface where effect is flat, and consequently do not mar the surface. To apply figures, modest, decorative additions for the ornamentation of surfaces, is allowable, as long as they do not clash with the character of the surface; but here the limits that are drawn by the nature of the article are not to be overstepped. For every perspective representation of a figure painted with the application of light and shade intends to deceive the observer; it lifts itself off the surface and no longer works upon our fancy as a part of the surface, but as body. Cases, chests and other large pieces may be decorated in this manner; tables, portfolios and similar pieces which in themselves are required to have smooth surfaces; smaller objects to be handled, where the sense of touch can at every moment convince itself of the attempted deception intended for the eye, one will do well to take heed in not painting these with figures of a plastic effect. Such contradictions are not to be tolerated in principle and should be avoided in the selection of patterns and designs.
To create a real picture in the beginning lies outside the province of the art of wood painting, and therefore the practice of the same, as far as it does not reach into the professional art, must always be confined within the circle of amateurs. Good, correct drawings of the outlines, cleanliness in coloring and a proper combination of the colors, is the highest aim the art of painting upon wood may achieve; for the artist is greatly answerable for the composition of ornaments, where designs are used as patterns.
But even in the narrow limits in which the art of painting upon wood moves, it accomplishes much that is beautiful, that the acquirement of the same cannot be too strongly recommended.
This is especially intended for young ladies, who, in the occupation of painting upon wood, find just as agreeable and remunerative diversion as the tedious, sense-dulling work of embroidery.
General Preliminaries. The first essential requirement to paint upon wood is, without a doubt, practice in drawing.
One is easily inclined, inasmuch as there is no self-inventive gift employed in connection with it, to consider painting on wood as a purely mechanical work, because the design is traced and transferred upon wood, by means of tracing paper; yet there remains, up to this easy beginning, the further embellishment entirely to the free hand, and it is just here that difficulties meet the painter unskilled in the art of drawing.
The difficult point in wood painting lies in the conscientious, artistic execution; the more pains taken in that direction, the stronger the lines of beauty and harmony in coloring, the more certain it is to obtain something excellent in this work.
The simplest design, when correctly and cleanly painted, has a more agreeable effect upon the observer than the most beautiful pattern that has been faultily produced through a series of shortcomings.