With much or little detail, this is what is to be aimed at. Whether with big brushes or little ones, the expression of the main idea, of the important, the vital things,—this is broad painting, and this only.
CHAPTER XXIII
MANIPULATION
Premier Coup.—Something similar to what I have spoken of as "direct painting" has long been a much-advocated manner of painting in France, under the name of Premier Coup; which means, translated literally, "first stroke."
It is taught that the painter should use no after or overworkings at all; but that he should carefully and deliberately select the color for his brush-stroke, and then lay it on the canvas at one stroke, each after-stroke being laid beside some previous one, until the canvas has been covered by a mosaic of color each shade representing a single "first-stroke," with no after-stroke laid over it to modify its effect. Such a process tends to great deliberation of work and exactness of study. Probably no better thing was ever devised for the training of the eye and hand. But it has its limits, and is not often rigidly adhered to in the painting of pictures; although the fresh, direct effect of this sort of work is preserved as far as possible in much modern French work, and that quality is held in great esteem.
This manner of painting is especially useful in the making of sketches and studies, and leads to a strong control of the brush and the resources of the palette.
In all painting of this character the color should have body. Transparent color should not be used alone, but only to modify the tint of the more solid pigments; for the transparent colors used indiscriminately are apt to crack, which characteristic is avoided when the heavier color forms the body of the paint.
Solid Painting.—In most cases solid painting is the safest,—the least likely to crack, and the most safely cleaned from varnish and dirt without injury to the paint itself. It is firmer in character too, and gives more solidity of effect to the picture.