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 214
be obtained; whenthe colour is thick, or gum or megilp is used, much the same effect is pro-duced as is obtained in oil. The water-colour painter cannot fail to regardas a valuable power the facility of putting on the highest lights possessedby the painter in oil; but notwithstanding this, he… … or those portions of pictures nearest the eye, al-though at the first glance appearing to offer but littledifficulty, are a source of continual perplexity andanxiety to the pupil. A small object near at hand becomesof great importance when reproduced in a picture : if skilfully executed,…
Landscape painting · Watercolor painting
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