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 258
thout these it might lose much of the character of a fall.The most opaque or whitest part of the fall will be as it collects together onthe dark rocks at the base; the tints about which may be formed with sepiaand indigo, brown madder and indigo, with brown pink in portions. All thelower part of… … EEIAL perspective holds the same relativeposition with regard to colour that linearperspective does to form; each, in therespective division of art to which it be-longs, being the foundation of truthful re-glen sligachan, skve presentation. The consideration of linear perspective terminates with…
Landscape painting · Watercolor painting
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