The Painter in Oil / A complete treatise on the principles and technique necessary to the painting of pictures in oil colors

by Daniel Burleigh Parkhurst

The Canal. Burleigh Parkhurst.
Effect of diffused out-door light to be compared with effect of studio light in "Bohemian Woman," and artificial light in "Woman Sewing by Lamplight."

Perception.—Only by continually observing and judging of contrasts and relations can the eye be trained to perceive subtle distinctions; yet it must be so trained, for all good work is dependent on these distinctions.

Effects of Light.—It is important to study the different qualities of light. Take, for instance, the difference of character on a sunny day and on a gray day. On the former, fine distinctions of color are less pronounced; they are lost in the contrasts of sunlight and shadow. On a gray day the light is diffused; contrast is less, but the finer distinctions are more marked. For the study of the subtleties of color choose a gray day.

So, too, is the difference marked between the general light of out-doors and the more concentrated light of the house. The pitch is different. Outside, even in a dark day, the general character of light is clearer, more full, than in-doors.

There is nothing possible under the open sky like the strong contrasts you get from a single window in an otherwise unlighted room.

Compare, for instance, the character of the light and shade as shown in the illustrations on pages [156] and [159]. The one is the diffused, out-of-door light, the other that from a studio window. The character of the subject has nothing to do with this quality. The head would have less of sharpness and contrast in the open air, and more reflected light.

Other differences to be studied as to quality of the light in the manner of its contrast, and also for its color quality, are to be seen in moonlight or nightlight as compared with daylight. Artificial light, such as lamp- and candle-light, gives marked effects also, which may be compared with daylight both as it is out-of-doors and in its more concentrated effects in the studio. Compare the picture of the "Woman Sewing by Lamplight," by Millet, with the "Canal" and the "Bohemian Woman" given above. The effects of gas and electric light also should be studied. Their characteristics both of contrast and, particularly, of color are worth your attention as a student, inasmuch as the essence of some pictures lies in these qualities.

Another matter of great importance to the student, and one which the same three illustrations just referred to may serve to show, is the effect on objects of the position of the point of entrance of the light with reference to them and to the observer. The simplest light is the side-light from a single window. This gives broad, sharp masses of light and shade, and makes the study of drawing and painting more simple. With the observer in the same relative position to the subject, as the light swings round towards a point back of him the contrasts become less, the relations more subtle and difficult of recognition, and naturally the study of them more difficult. In this position of light the values become "close." To make the object seen at all, it is necessary that the finest distinctions shall be observed.