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| —— | ||
| [FOREWORD BY A. L. BALDRY] | ||
| [A TREATISEONLANDSCAPE PAINTING and EFFECTINWATER COLOURS] | ||
| [TO THE PUBLIC] | ||
| [ADVERTISEMENT] | ||
| [GENERAL OBSERVATIONS ON LANDSCAPE PAINTING] | ||
| [ON OUTLINE] | ||
| [ON LIGHT AND SHADE, AND EFFECT] | ||
| [METHOD OF LAYING ON THE TINTS] | ||
| [ON COLOURING] | ||
| [TEMPLE OF FANCY] | ||
| —— | ||
| Plate: | [ I.] | STUDIES. |
| [II.] | STUDY. | |
| [III.] | STUDY. | |
| [IV.] | STUDY. | |
| [V.] | STUDY. | |
| [VI.] | NEAR KNOWLE, WARWICKSHIRE. | |
| [VII.] | NEAR BROMLEY, KENT. | |
| [VIII.] | STUDIES. | |
| [IX.] | DINAS MAWDDWY, NORTH WALES. | |
| [X.] | NEAR BIRMINGHAM. | |
| [XI.] | NEAR HAMPTON-IN-ARDEN, WARWICKSHIRE. | |
| [XII.] | NORTH WALES. | |
| [XIII.] | NEAR LEICESTER. | |
| [XIV.] | NEAR LLANFAIR, NORTH WALES. | |
| [XV.] | NEAR LLANFAIR, NORTH WALES. | |
| [XVI.] | ON BROMLEY HILL, KENT. | |
| [XVII.] | ON DULWICH COMMON, SURREY. | |
| [XVIII.] | DOLBADARN TOWER, NORTH WALES. | |
| [XIX.] | LLANFAIR CHURCH, NORTH WALES. | |
| [XX.] | STUDY. | |
| [XXI.] | STUDY. | |
| [XXII.] | BIRCH. | |
| [XXIII.] | ELM. | |
| [XXIV.] | POLLARD WILLOW. | |
| [XXV.] | OAK. | |
| [XXVI.] | BEECH. | |
| [XXVII.] | ASH. | |
| [XXVIII.] | ASTON HILL, NEAR BIRMINGHAM. | |
| [XXIX.] | BRIDGNORTH BRIDGE, SHROPSHIRE. | |
| [XXX.] | PART OF KENILWORTH CASTLE. | |
| [XXXI.] | HAMPTON-IN-ARDEN, WARWICKSHIRE. | |
| [XXXII.] | NEAR LLANFAIR, NORTH WALES. | |
| [XXXIII.] | NO. 1., 2. | |
| [XXXIV.] | NO. 3., 4. | |
| [XXXV.] | NO. 1., 2. | |
| [XXXVI.] | STUDIES. | |
| [XXXVII.] | OLD BUILDINGS, HASTINGS. | |
| [XXXVIII.] | OLD BUILDINGS, LAMBETH. | |
| [XXXIX.] | MORNING—VIEW OF WINDSOR CASTLE. | |
| [XL.] | EVENING—VIEW OF CONWAY CASTLE. | |
| [XLI.] | HAZY MORNING. | |
| [XLII.] | MID-DAY. | |
| [XLIII.] | A HEATH—CLOUDY EFFECT. | |
| [XLIV.] | SNOWDON, NORTH WALES. | |
| [XLV.] | COTTAGE NEAR NORTH FLEET, KENT. | |
| [XLVI.] | LANE AT EDGBASTON, NEAR BIRMINGHAM. | |
| [XLVII.] | AN EFFECT AFTER A STORM—VIEW ON THE COAST NEAR HARLECH, NORTH WALES. | |
| [XLVIII.] | TRANSIENT EFFECT—VIEW IN BATTERSEA MARSH. | |
| [XLIX.] | DOLBADARN TOWER, LLANBERIS LAKE, NORTH WALES. | |
| [L.] | PONT ABERGLASLYN, NORTH WALES. | |
| [LI.] | HASTINGS FISHING-BOATS RETURNING ON THE APPROACH OF A STORM. | |
| [LII.] | SHEEP-SHEARING—A VIEW IN SURREY. | |
| [LIII.] | MORNING—FISH-MARKET ON THE BEACH, HASTINGS. | |
| [LIV.] | TWILIGHT—WARWICK CASTLE. | |
| [LV.] | MORNING—ETON COLLEGE. | |
| [LVI.] | NOON—LLANELLTYD VALE, NORTH WALES. | |
| [LVII.] | PART OF BATTLE ABBEY | |
| [LVIII.] | VIEW IN SURREY | |
| [LIX.] | EFFECT, MORNING | |
| [LX.] | EFFECT, MID-DAY | |
| [LXI.] | EVENING. VIEW OF WINDSOR CASTLE | |
| [LXII.] | TWILIGHT. VIEW OF HARLECH CASTLE NORTH WALES | |
| [LXIII.] | WIND | |
| [LXIV.] | RAIN | |
| [LXV.] | CALM. HASTINGS FISHING-BOATS | |
| [LXVII.] | CLOUDY EFFECT. DISTANT VIEW OF CARNARVON CASTLE | |
| [LXVIII.] | MISTY MORNING | |
| [LXIX.] | AFTERNOON EFFECT. VIEW IN SURREY | |
| [LXX.] | RAINBOW EFFECT. WESTMINSTER ABBEY, FROM BATTERSEA MARSH | |
| [LXXI.] | MOONLIGHT EFFECT. VIEW ON THE THAMES | |
| [LXXII.] | SNOW SCENE. VIEW IN SUSSEX | |
A TREATISE ON LANDSCAPE
PAINTING IN WATER COLOURS BY
D A V I D C O X
WITH A FOREWORD
BY A. L. BALDRY
EDITED BY GEOFFREY HOLME
LONDON: THE STUDIO, Ltd., 44 LEICESTER SQ., W.C. 2
MCMXXII
FOREWORD BY A. L. BALDRY
When an artist is beyond question a master of his craft it is always particularly interesting to hear what he has to say about the principles by which his art is controlled and the methods he employs in his practice. It is, of course, in his work, in the things he creates, that he gives the complete expression of his convictions and that the full product of his experience is embodied, but by the aid of words he is able not only to declare the intention by which his expression has been directed but also to explain the technical processes which have enabled him to arrive at his results. His creed, once set down in writing, is made permanently available for the guidance of all who study his work and seek to realise his purpose; the statement of his methods becomes an enduring record to which those who come after him can refer when they wish to understand the manner of his production.
In this way, indeed, the educational value of the master’s precepts is maintained indefinitely. Even after his personal and living influence has been withdrawn his authority persists and his teaching remains active, because in all its essentials it is still within the student’s reach. Fashions in art may vary from time to time, but its fundamental principles do not change and the exposition of these principles which has served one generation is just as helpful to another.
Therefore, such a book as this “Treatise on Landscape Painting and Effect in Water Colours, from the first rudiments to the finished picture,” by David Cox, deserves as ready an acceptance to-day as it received when it was first published more than a century ago. David Cox is justly counted among the greater British masters—that can scarcely be disputed—he was also a teacher of very wide experience and he knew well how to enable others to profit by the knowledge he had accumulated. It was the fruit of this experience that he gathered in his “Treatise,” and it was in response to a demand from the people who were best able to judge the quality of his teaching that he undertook the preparation of the book. “The urgent and repeated solicitations of many of his pupils,” he says in his foreword, “have induced the author of this work to submit to the public those results which are the result of many years’ study, and which may guide the student in the selection of appropriate effects of nature, adapted to the different characters of landscape composition.”