The theory and practice of landscape painting in water-colours. Illustrated by a series of twenty-six drawings and diagrams in colours, and numerous woodcuts (1871)
Barnard, George, 1807-1890 · London : George Routledge & Sons · leaf 190
lack, Ivory Black, or Ultramarine Ash are used in addition,these pigments affording silvery greys of a soft or subdued character. In forming all these aerial greys we must endeavour to select the mosttransparent pigments; and by using them, when painting skies, in thin butfull washes, and also by… … never fatigued while dwelling on their refreshing tints and graceful forms;without them our landscape scenery would be barren and incomplete jwhereas a fine tree will itself present a beautiful picture, showing vegeta-tion in its most vigorous development, abounding in variety of form, oflight and…
Landscape painting · Watercolor painting
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