Delamotte, Philip Henry, 1821-1889 · London : G. Bell · leaf 103
it in strong light, to throw that which is immediately behind it into shadow, as is most charac¬ teristically done in every stage of the departing distance in the adjoining sketch by Collins (Fig. 3). Of course the effect is very different in the different cases, and it is not always possible to… … W. Collins. Fig. 3. may be compared by studying the works of Rembrandt and Turner. The former of these painters was very much given to concentrating the attention upon one small portion of light in the midst of a large mass of darkness, whilst Turner would make the main portion of his picture in a…
