File:A treatise on painting - In four parts The whole illustrated by examples from the Italian, Venetian, Flemish, and Dutch schools (1837) (14597866377).jpg

Identifier: treatiseonpainti00burn (find matches)
Title: A treatise on painting : In four parts ... The whole illustrated by examples from the Italian, Venetian, Flemish, and Dutch schools
Year: 1837 (1830s)
Authors: Burnet, John, 1784-1868
Subjects: Painting
Publisher: London : James Carpenter
Contributing Library: Getty Research Institute
Digitizing Sponsor: Getty Research Institute

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Text Appearing Before Image:
m the repetition and con-nection of lines, I shall notice one good plan amongst many others, whichis, to mark in strongly those points in the ground which of necessity mustbe introduced from natural circumstances, at the same time contriving thegroup so that those points become of the greatest consequence to thecomposition. This often gives a characteristic stamp of nature to thewhole. Plate III. Fig. 7. We have here the strong dark point coming incontact with the light ground in the most cutting manner ; which is morenaturally accounted for by its being the most projecting; as it is theinside of an empty drinking cup, it perhaps indicates the commencementof the story as well as any other means. Plate IV. Fig. 1. As an outline can give us little idea of thisarrangement, I may be allowed to observe, that the four points of lightare the upper halves of both the figures (being of a pale yellow), the whitedog and a light wall above the fireplace brought in contact with a blackpowder horn.
Text Appearing After Image:
JbTmBumel Sc. London, Published by J? Carp enter, Bond Street, June. 11S2Z. COMPOSITION IN PAINTING. 21 Plate IV. Fig. 2. Ostades pictures have the peculiarly valuableproperty of looking well at a distance, thereby attracting the attention ofthe spectator towards them. When we come nigh to examine, we findthat this is produced by their possessing a decided mass of light, obtainedby means of a light wall, sky, &c. His heads and hands form a number ofluminous spots in a mass of half tint, and are rendered of more value bythe introduction of blue and dark draperies ; this requires much considera-tion, in order that those spots may take agreeable and decided forms toprevent confusion. In Ostades works it is rendered the more easy, as hehas seldom any particular story to interfere with the arrangement. Hispictures call to my mind a passage in Hervey, which appears like thelanguage of a painter, so completely consonant is it to the principles onwhich he constructs his work. Speaking of

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