The principal art of Landscape Painting consists in conveying to the mind the most forcible effect which can be produced from the various classes of scenery; which possesses the power of exciting an interest superior to that resulting from any other effect; and which can only be obtained by a most judicious selection of particular tints, and a skilful arrangement and application of them to differences in time, seasons, and situation. This is the grand principle on which pictorial excellence hinges; as many pleasing objects, the combination of which renders a piece perfect, are frequently passed over by an observer, because the whole of the composition is not under the influence of a suitable effect. Thus, a Cottage or a Village scene requires a soft and simple admixture of tones, calculated to produce pleasure without astonishment; awakening all the delightful sensations of the bosom, without trenching on the nobler provinces of feeling. On the contrary, the structures of greatness and antiquity should be marked by a character of awful sublimity, suited to the dignity of the subject; indenting on the mind a reverential and permanent impression, and giving, at once, a corresponding and unequivocal grandeur to the picture. In the language of the pencil, as well as of the pen, sublime ideas are expressed by lofty and obscure images; such as in pictures, objects of fine majestic forms, lofty towers, mountains, lakes margined with stately trees, rugged rocks, and clouds rolling their shadowy forms in broad masses over the scene. Much depends upon the classification of the objects, which should wear a magnificent uniformity; and much on the colouring, the tones of which should be deep and impressive.
In the selection of a subject from Nature, the Student should ever keep in view the principal object which induced him to make the sketch: whether it be mountains, castle, groupes of trees, corn-field, river scene, or any other object, the prominence of this leading feature in the piece should be duly supported throughout; the character of the picture should be derived from it; every other subject introduced should be subservient to it; and the attraction of the one, should be the attraction of the whole. The union of too great a variety of parts tends to destroy, or at least to weaken the predominance of that which ought to be the principal in the composition; and which the Student, when he comes to the colouring, should be careful to characterise, by throwing upon it the strongest light. In his attention to this rule, however, the Student must be particular not to fall into the opposite extreme, by suffering the leading object of his composition so fully to engross his attention as to render him neglectful of the inferior parts. Because they are not to be exalted into principals, it does not follow that they are to be degraded into superfluities.
All the lights in a picture should be composed of warm tints, except they fall on a glossy or reflective surface; such as laurel leaves, glazed utensils, etc., which should be cool, and the lights small, to give them a sparkling appearance: but care must be taken not to introduce a cold colour in the principal light, which, as already mentioned, should be thrown upon the leading feature of a picture, as it conduces to destroy the breadth that should be preserved; while on the contrary, the opposition or proximity of a cool to a warm colour assists greatly in giving brilliancy to the lights. If the picture, for instance, should have a cool sky, the landscape ought to be principally composed of warm tints; as contrast of this description tends to the essential improvement of the general effect.
All objects which are not in character with the scene should be most carefully avoided, as the introduction of any unnecessary object is sure to be attended with injurious consequences. This must prove the necessity of becoming thoroughly acquainted with, and obtaining a proper feeling of, the subject. The picture should be complete and perfect in the mind, before it is even traced upon the canvas. Such force and expression should be displayed, as would render the effect, at the first glance, intelligible to the observer. Merely to paint, is not enough; for where no interest is felt, nothing can be more natural than that none should be conveyed.
Finally, it may be observed, that it is only by a due attention to each distinct part, and by a skilful combination of all, that the whole can be effective and delightful.
ON OUTLINE.
The young draftsman who is ambitious of future eminence must be close in his attention to those minute points which, skilfully combined, constitute the excellence of the painter. In the outset, it will be necessary for him to be particular in his designation of the Outline, for the perfection of which, he must possess a clear conception of his subject; otherwise, be his genius what it may, he will wander wildly, without either promoting his own satisfaction, or conveying a definite or correct idea to the observer. Too little attention has generally been paid to this point, by Students: they are too apt to appear disconcerted and discouraged, when the task wears a complexion of difficulty.
A clear and decided Outline possesses a manifest superiority over an imperfect or undecided one, inasmuch as it renders unnecessary those continual references to Nature or to copy, which must be had recourse to, where the Outline is defective. He who devotes his time to the completion of a perfect Outline, when he has gained this point, has more than half finished his piece; while the author of a slovenly Outline creates for himself an infinity of trouble, in order to evade additional errors in the colouring of his subjects; and after all his efforts, finds it impossible to produce a picture perfect in any one part. To attain proficiency in the art of pencilling, the Student is recommended to practise Drawing from the casts of the antique, by which study he will acquire a growing facility in the designation of fine forms, as well as a more correct and decided mode of outlining. The Pupil will also find his progress greatly accelerated by the dedication of his leisure moments to copying objects of still life—a practice which will be found replete with advantage, when he studies combinations of subjects for compositions of landscape scenery.
In tracing the distinct objects of a landscape, it is recommended to attend more particularly to the general forms than to detail: for example, in sketching a mountain, it will be sufficient to describe the extreme Outline, without descending to the diversified and numerous ridges which may appear; for although these uneven divisions arrest the attention of the Student, when engaged in tracing the particular form of the eminence, they are lost to the eye which embraces, at one view, the whole of the scene. A greater degree of minuteness, however, ought to be observed in the Outline of the fore-ground of a picture, where the features of the object assume a more specific appearance, shewing decided forms, and obtruding all their diversities of shape upon the view. To obtain excellence in this respect, it will be necessary to make correct drawings from Nature, of weeds, plants, bark of trees, and such objects as usually constitute the foreground of a landscape.
The Student must first commence with perpendicular, horizontal, and diagonal lines, to give the hand that freedom and certainty which are necessary. The Drawing must be strongly marked in the shade and foreground of the subject, but more delicately in the lighter parts, and as the distance gradually increases. Due attention to this cannot fail to give the true spirit and perspective. The Plates of this Work should be copied in regular succession, and any bad line that may be made should be entirely expunged; for all effort to rectify, by retouching, will only give the piece a scratched and indecisive appearance, and consequently will cause confusion and mistakes in the colouring.