The Art of Landscape Painting in Oil ColoursThe Art of Landscape Painting in Oil Colours by J. Edwards, first published in 1859, is a rare manuscript, the original residing in one of the great libraries of the world. This book is a reproduction of that original, which has been scanned and cleaned by state-of-the-art publishing tools for better readability and enhanced appreciation. Restoration Editors' mission is to bring long out of print manuscripts back to life. Some smudges, annotations or unclear text may still exist, due to permanent damage to the original work. We believe the literary significance of the text justifies offering this reproduction, allowing a new generation to appreciate it. |
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24 Ditto ditto artist bad drier Bottle brilliant Brown Madder Brown Pink Burnt Sienna Cadmium Yellow Cake Box canvas Chinese White Cobalt containing Lemon Yellow Crimson Lake Ditto ditto ditto Drawing Paper drying oil easel effect Emerald Green flat foliage foreground French Blue French Ultramarine Gamboge glazing gray ground hair HALF CAKES hog-hair impart Imperial inches Indian Red Indian Yellow Indigo J. D. Harding laid Lamp Black landscape painting Light Red linseed oil Madder Brown Madder Lake Mahogany megilp Moist Colours MOIST WATER COLOURS Naples Yellow Neutral Tint NEWTON'S MOIST objects Olive Green opaque Oxide of Chromium pencil picture pigment Price produced Prussian Blue Purple Lake Purple Madder RATHBONE PLACE Raw Sienna rich Rose Madder SABLE BRUSHES Scarlet Vermillion scumbling Sepia shadows softener SWAN QUILL Terre Verte tone touches Ultramarine Vandyke Brown varnish vehicle Venetian Red WHOLE CAKES WINSOR & NEWTON WINSOR AND NEWTON Yellow Ochre
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Page 29 - Of the fixed oils, linseed is in most common use. It should be of a pale amber colour, transparent, and limpid ; and, when used in moderately warm weather, it should dry in a day. The most valuable qualities of linseed oil, as a vehicle, consist in its great strength and flexibility. It is by far the strongest oil, and the one which dries best and firmest under proper management. The next in importance is poppy oil. It is inferior in ш I'AlNTINtl : OIL CULOUliS.
Page 15 - ... the hair of the brushes in a little raw linseed oil ; the oil should afterwards be washed out with soap and warm water, till the froth which is made by rubbing the brushes on the palm of the hand is perfectly colourless. The brushes should next be rinsed in clean water, and the water pressed out by a clean towel. The hair should then be laid straight and smooth, and each brush restored to its proper shape, by passing it between the finger and thumb, before it is left to dry. Care should be taken...
Page 10 - ... greater space for the working of tints, as well as for their advantageous arrangement. Wooden palettes should be prepared for use by rubbing into them as much raw linseed oil as they can be made to imbibe. If this dressing with oil be thoroughly effected, and the palette be then suffered to dry till it becomes hard, the wood will subsequently not be stained by the absorption of colour.
Page 11 - Easel. — The easel is a frame which supports the painting during its progress. Easels are of various forms ; but the most convenient is undoubtedly the rack-easel, which allows the painter to raise or lower his work with speed and convenience, as occasion may require. The commoner and cheaper kinds are supplied with pegs for this adjustment of the height of the work. It is desirable that the easel should stand firmly, and not be liable, as is too...
Page 18 - ... disagreeable. Upon the whole, a white ground is to be preferred, as soon as the learner has acquired some experience of the subsequent effect of his colours ; but as the inexperienced find much difficulty in preventing the coldness and poverty of expression which it is likely to cause under their hands, it will be advisable for the beginner to take the usual light stone drab that is generally given to canvas ; for it furnishes him with a middle tint or tone to start from, which, when visible...
Page 14 - King's Yellow Lamp Black Light Red Naples Yellow Neutral Tint New Blue Olive Green Orange Chrome Payne's Grey Prussian Blue Prussian Green Raw Sienna Raw Umber...
Page 26 - ... black and glossy like common pitch, which differs from them only in having been less acted upon by fire, and in their being softer. Asphaltum is principally used in oil-painting; for which purpose it is first dissolved in oil of turpentine, by which it is fitted for glazing and shading. Its fine brown colour and perfect transparency are lures to its free use with many artists notwithstanding the certain destruction which awaits the work on which it is much employed...
Page 17 - The paper has this advantage, that, if the sketch is required to be preserved, it can readily be pasted or glued upon the canvas, and then mounted on a deal frame, when it will present the appearance of strained canvas. Grounds. — Much diversity of opinion has existed respecting the colour of the surface of the prepared canvas. It is a subject of considerable importance, for it is impossible to paint a richly-coloured picture, with life and warmth, upon a dull unsuitable ground. A landscape, if...
Page 34 - ... rendered sufficiently transparent by the admixture of a large proportion of vehicle. These latter glazings are capable of being applied with excellent effect, where it may be necessary to modify the tones of those parts of the picture which do not appear satisfactory, or to produce particular effects, such as smoke, dust, mists, and the like.
Page 15 - This practice is certain to injure, and in most cases completely to spoil the brushes ; rendering the hair harsh and intractable, and frequently dissolving the cement by which the hair is held in the socket of the handle. Canvas. — This is the general material used for painting. It is kept prepared in rolls of various widths, and is sold also strained on frames of any required size. The ground or preparation of the canvas should be thin, yet completely covering the threads of the fabric ; and it...