Sinopsis:
Excerpt from Landscape Painting in Oil Colours, Explained in Letters on the Theory and Practice of the Art, and Illustrated by Examples From the Several Schools
IN giving a series of letters to the public, embracing a course of study confined principally to the subject of Landscape Painting, I perhaps ought to apologize for their brevity, investigating as they do the rudiments and practical working of a large field of endless variety. The apology I have to offer is a consciousness that words cannot make clear principles and peculiarities more particularly addressed to the eye, and I have therefore contented myself with drawing the student's attention to those points, both in pictures and natural imagery, on which his taste and practice must be founded. The favour my other works on the various branches of painting have found, gives me a certain confidence that this elementary book will be received with a kindly spirit. My object has been to engraft theory upon practice, as all written knowledge upon the subject must be of little avail without the means of carrying it out into practical results. I have, there fore, not only commenced with considering the subject in separate portions, but some of the details on which I have dwelt are of the humblest and most familiar character; for a trifling weed will frequently contain the highest elements of the art - breadth, richness of form, and a true proportion of.
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Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com
This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
Reseña del editor:
Excerpt from Landscape Painting in Oil Colours, Explained in Letters on the Theory and Practice of the Art, and Illustrated by Examples From the Several Schools
IN giving a series of letters to the public, embracing a course of study confined principally to the subject of Landscape Painting, I perhaps ought to apologize for their brevity, investigating as they do the rudiments and practical working of a large field of endless variety. The apology I have to offer is a consciousness that words cannot make clear principles and peculiarities more particularly addressed to the eye, and I have therefore contented myself with drawing the student's attention to those points, both in pictures and natural imagery, on which his taste and practice must be founded. The favour my other works on the various branches of painting have found, gives me a certain confidence that this elementary book will be received with a kindly spirit. My object has been to engraft theory upon practice, as all written knowledge upon the subject must be of little avail without the means of carrying it out into practical results. I have, there fore, not only commenced with considering the subject in separate portions, but some of the details on which I have dwelt are of the humblest and most familiar character; for a trifling weed will frequently contain the highest elements of the art - breadth, richness of form, and a true proportion of.
About the Publisher
Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com
This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
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