The Art of Landscape Painting in Oil Colour (Classic Reprint)

(Artists, improve your skills and pick up hints from an ex...)

Artists, improve your skills and pick up hints from an expert withThe Art of Landscape Painting in Oil Colour by Alfred East. The Art of Landscape Painting in Oil Colour is intended as a resource guide for artists. East presents a series of chapters about specific topics intended to improve the work of the reader, such as, equipment, composition, color, trees, grass, reflections, distance, selection and treatment of a subject, plus several more. A good number of illustrations have also been included, reproduced in black and white in this republication. The Art of Landscape Painting in Oil Colour is undoubtedly a valuable work that decides to focus on advanced tips rather than providing a step by step tutorial. This serves the title well and makes this a book that can appeal to a wide swath of artists. Even though this is a work specifically about landscape painting, any artist working in oil colour will likely find the information presented within to be useful. Alfred East has created an excellent advanced guide to painting in oil colour. The Art of Landscape Painting in Oil Colour is a well written and expertly presented work that can surely be a valuable resource in the hands of an experienced painter. Any artist looking to improve their skills of landscape painting will find this title to be a worthwhile addition to their library. 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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The art of landscape painting in oil colour - Scholar's Choice Edition

( This work has been selected by scholars as being cultur...)

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

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The Art Of Landscape Painting In Oil Colour (Paperback) - Common

(Many of the earliest books, particularly those dating bac...)

Many of the earliest books, particularly those dating back to the 1900s and before, are now extremely scarce and increasingly expensive. We are republishing these classic works in affordable, high quality, modern editions, using the original text and artwork.

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The art of landscape painting in oil colour - Scholar's Choice Edition by East, Alfred (2015) Paperback

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The art of landscape painting in oil colour

(PREFACE. IT will be found that I have not attempted in t...)

PREFACE. IT will be found that I have not attempted in these pages to write at any length on the art of landscape painting in its elementary stages. I have taken it for granted that the reader has, at least, a practical knowledge of the rudiments of drawing, such as may be acquired at any school of art. It is, of course, an absolute necessity that such should be the case before any attempt is made to paint from Nature. My aim, therefore, has been to place before the student certain considerations which do not find a place in the curriculum of our art schools, and which should be of assistance to him in the progress of his development. I am of opinion that the cause of a great many of the failures, amongst those who know something of the technique of painting, is their false attitude towards Nature: no matter how closely they may seek to imitate her, their work lacks the vitality which is always associated with that of a master. Therefore, while I shall not neglect the necessary hints on the technicalities of art, my chief endeavour will be to point out the best method of employing one's knowledge. However well grounded the student may be in technical ability, he may yet be a complete failure as an artist. Beyond the methods of painting there lies the wider problem of the real expression of art. A boy learns at school the conventional rules of arithmetic, and in after life he probably discovers for himself a system of reckoning which is better suited to his purpose; but had he not first learned the fundamental rules, his own system could not have been so easily evolved. So it is with painting. Technique is of the highest importance. The artist should be able to draw with his brush as easily as a writer uses his pen. Assuming then that the student is adequately equipped with technical knowledge, my desire is to present to him ideas and suggestions which will lead him to search for the why and wherefore of things which may have hitherto escaped his attention. Such thoughts and suggestions will, I trust, gradually widen his outlook, give a larger interest to his work, and endow it with qualities which will mark it as a result of honest personal conviction—an expression of his individuality and character. The striving after such an end as this will increase his enthusiasm for his work, quicken his powers of observation, and help him to look beyond mere superficialities. All these qualities are necessary to the landscape painter, and in their possession he will find a sure reward. If the student can be induced to study Nature in her broader aspects, and to grasp her higher attributes, which must be present in all art, he will, probably before long, discover the methods by which he can best express what he finds in the world about him. There is a curious belief abroad that art is a trick, a species of cleverness, to which anyone may attain by mere practice and perseverance; that success would be assured if one could only secure the confidence of some eminent painter and learn his secret—his peculiar " trick of the trade." So considerable an amount of unsatisfactory matter has been printed on the subject of landscape painting that it is probable that the student, if he forms any opinion at all, may decide upon a very erroneous one. The fact that landscape painting is such a personal expression, and receives such varied treatment at the hands of its exponents, is partly responsible for this error of judgment. The student, puzzled by so many different methods of expressing Nature, finds considerable difficulty in tracing the underlying principles by which all are governed. For instance, he may look at a Claude or a Poussin, and then at a Turner or a Corot, and find certain principles in the one which appear to be ignored in the other. " I have it on the highest authority," he may reason with himself, "that all these artists are great; but how can that be?" In his ignorance he cannot understand that while Claude and ...

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