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THE ART 7
AMATEUR._
"
and with en evi ually,
or rather sentimentally, to a degree unknown in the foreground, a billowy field stretching behind
yellow, stockings
yellow lavishly
to real rustic life. Knight's are not them to a sunset The other is a late sunset
dence," vending catalogues ! exactly drawing sky.
For a pleasanter theme let us turn to the nearly six room misses transferred to the fields, not hot-house scene with two little English peasant girls sitting
hundred water-color at the Dudley Gallery.
and not field flowers, but rather pretty garden
yet with their backs to the light,upon the brink of the
drawings
" water see their own Mr.
The Dudley Art Society" is the name taken flowers, out of place among rough clods and in which they figures.
Gallery quite
to imitate the late
by that portion of the old Dudley Society which re where toil is heavy and the blast may blow keen. Weatherbee is often said by critics
refines his peasants Mason in those and
mains in the Egyptian Hall, while the rest have be Jules Breton spiritually, but leaves George peculiar atmospheric
-shadow effects which
taken themselves else
Mason so lovingly
where. The change in
the has cer- *
sought in the dying
society
although he him
tainly, for one of its day,
a marked i self declares that he
first results, c
never saw a Mason
in the V;-.v
improvement
*:y until after the
general quality of the *
long
critics had begun to
exhibition, even al- f
call his own pictures
though the superficial .^jjL
imitations. He is par
aspect remains much ^
the same. It seems ticularly fond of pink
impossible for London w^T glancing lights on
bodies otherwise in
exhibitions to throw off 7*
their habitual brown shadow (the tops
expres-
in which of the sun-bonnets of
sion, long,
in the little reflected rus
lank, lithe maidens,
tics are rosy while the
aesthetic raiment, reach- [\
to fruit-laden faces are brown;, and
ing up f.*\'?^
or carrying bur- finds, as he says, a
boughs "gr/^
dens of asphodel more subtle and deli
against
cate in the
sage green tapestry like J..1\hk\ poetry
and dead ^ vagueness of the deep
backgrounds,
maidens with half open- )e ening twilight than in
ed mouths a la Rossetti ^!;,
the fullbrilliancy of the
and day. His style is large
t ,his post-mortem
have such and free, and his aim
Beatrices, *&~*Zt
important parts, and A-O evidently poetic sug
. this firstexhibition of gestion rather than

the new shows sensuous effect.


society
4' ?
that the art" M. B. Wright.
high
of its predecessors "ON THE BEACH AT ETRETAT." BY HENRY BACON.
spell
has fallenalso upon it.

Only two of
our compatriots appear upon the Dud them the coarse-footed, brawny-armed, heavy beings SKETCHING FROM NATURE IN OIL,
under the new the old familiars nature them, while Knight's rustics might wear
ley walls regime, shapes
?such as Mark Fisher, Bloomer and bottines No. 3, and would melt like waxen blossoms Sketching from nature in colors is an occupation
Hennessy,
no These two are W. under too hot a sun. The is both full of delight to the amateur, and invaluable to the
Helmick?sending pictures. workmanship
a of artis but the latter should
Magrath and Mrs. Howard the latter forcible and delicate, showing high culture professional artist; clearly
'' Campion,
Californian. Both these envois'' are of cabinet tic gifts. The most finish is lavished upon understand what he proposes to himself in its pursuit.
exquisite
size, and both Mr. face and hands, and the canvases are charming to While the amateur has, nine times out of ten, no
equally unpretending. Magrath's
"
is a landscape called- Sussex purpose in view beyond the

Meadows," gratification of a refined taste


eminently pro
saic, and apparently labored, or the wish to bear away a
without focus ol light or effect, bright memento of scenes

the entire dull scene washed, from one cause or other


not bathed, in a feeble light
henceforthto be held inprized
which is neither of dawn, remembrance, the profes
day* nor twilight.. Mrs. Cam sional artist, on the contrary,
"
is called The does, or should, look
pion's picture always
Letter" and is as decorous upon sketches as studies
and a which are to have a
young-lady-like piece practical
of painting as one need wish and decided bearing upon the
to see. future and matured efforts of
The peasant girl read '
a very bour- his genius, and serve as effec
ing her letter in
. interior is a made-up tual aids to the production of
geois
studio model whose costume finished pictures.
is evidently an .evolution of Having procured some
"
the artist's studio props" paper already prepare^ for
rather than a representation sketching in oil (that in the
of any real peasant costume. form of blocks
compressed
The is careful and is most or so
painting convenient),
"
conscientious, . the
drawing called Academy board,"
correct even if timid, the re begin by drawing a careful
sult well-regulated and con outline in pencil. As your
ventional, and far more Eng timewill probably be limited,
lish in its respectability than it is better to use a medium
with any evidence that the which dries faster than me
artist was ever a of and the common
pupil gilp, prac
Paris ateliers, as she once tice now is to substitute
copal
was. varnish, which
not only dries
At the Agnew Gallery are very rapidly, but also pre
exhibited good examples in * serves the colors in all their
water-colors of such names With
original brightness.
as De Wint, S. Prout, David this then and a little raw or
"in the bathing season at etretat." by henry bacon.
Cox, Rosa (" Morn
Bonheur burnt umber rub in the light
ing in the Highlands"), Wil and
shade and general effect,
Ham Hunt, look without the least to any sense that over the masses of foliage, but the
J. Linnell, Bonnington, Turner, Copley, upon appeal carrying-it leaving
Fielding, Harpignies, Millais, Birket Foster and H. S. lies beyond the eye. sky untouched. Sketch in the forms of the
faintly
Marks. In this gallery we find two of our The other American, F. Weatherbee, a clouds in pencil, then with an azure tint compounded
country George
each two canvases. D. in Antwerp, sends two much of ultramarine and white, mixed a
men, represented " by Ridge Boston boy who studied occasionally with
way Knight exhibits An Anxious Watcher" and more canvases, called respectively little black to bring the tint nearer nature, in
" conspicuous paint
A Rainy Day," both showing figures of his usual "Gleaners" and "Reflections." The former is a the sky, beginning at the top, adding more white as it
rustic maidens, refined, both physically and spirit harvest field with two large female figures gleaning approaches the horizon, and the lowest a
giving parts
I_THE ART AMATEUR.
with a little not
yellowish tinge yellow ochre. Do but the only sketches really useful for the purpose THE EDWARD JOSEPH COLLECTION OF
paint this blue tint over the cloud it intended are such as are carried
forms, except to such a of MINI A TURES.
degree
be where little detached bits are distinct from the as to become
completeness in details finished minia
masses. In sunset skies
general you will often find ture pictures in themselves. It will, however, serve In accordance with our promise, we return to. the
an.exquisitely beautiful green tint in the lower parts as well, if to a notice of the cabinet of miniatures owned
nearly (not quite) tolerably careful charming
of the sky, in the left between the gold and
openings study of effect and color, we add a second sketch in by Mr. Edward Joseph, of London, which was partly
violet clouds. described in the
lead-pencil conscientiously drawn, and the different January number of The Art
After the azure tints are laid in, paint the clouds, Amateur. As this a
parts carefully elaborated. This, too, will take less collection is pre-eminently
beginning with the dark and using very little we do not hesitate in adding to the
parts Cosway collection,
color ; then finishwith the lights. A
good general examples already given the five
characteristic^speej "
tint for the dark of clouds in the day-time is mens illustrated herewith of the graceful art of
parts the
composed of white, black, and a little Indian macaroni miniature The most
ivory painter." interesting
red or lake. For the lights, use flake white, modified of them is the of the beautiful Mrs.
perhaps portrait
a "
by mixing little yellow ochre or Robinson, the actress, better known as
Naples yellow Perdita,"
therewith. Paint the sky or clouds over all parts who was so treated
cruelly by the heartless Prince of
where they are intended to show
through the open Wales who afterward became King George IV. But
ings in thin this miniature was described in our former notice.
foliage.
The brushes to be used fpr this painting and work Of the other of we have nothing
examples Cosway
in general are hair, but before the sky dries it to remark. all show the same
hog's special They delicacy
should be lightly gone over with a soft of treatment, the clever over of physical
badger-hair glossing
ener to blend the tones and remove any harshness defects of the sitter, the same
pale blue background,
incompatible with the tender character of sky scenery. no matter what the style of beauty The
portrayed.
While the sky near the horizon is still wet, paint the and Hone are of the same
examples by Nixon, Smart,
extreme distance with a tint very different school as and are inferior to his,
slightly Cosway, hardly
from the lower parts of the a little
sky, but stronger ; although the reputation of these painters has not sur
then the middle distance, and so on to the fore vived them. The miniature of Elizabeth and Georgiana,
ground ; gradually changing and the "the two Duchesses of Devonshire," is particularly
strengthening
colors according to the natural tints of the objects as the of a well-known
interesting original engraving
before you, until the is reached, which was a few years ago in The London
foreground upon published
which will be bestowed the strongest colors, and the the original of which, if our memory serves
Graphic,
most powerful light and shade in the picture. Fore us, was to be a painting
said by Angelica Kauffman.
ground trees and grasses, if in the spring-time, Mr. Joseph investigated the matter, and the
may originality
be with a green of Prussian of his miniature as the source of the engraving was
painted compounded
blue and chrome ; but later on, when the
yellow fully established.
becomes darker and duller in color, the miniature by horace hone.
foliage
chrome be exchanged
will for yellow ochre, and in CRA YON DRA WING.,
ELIZABETH AND GEORGIANA,DUCHESSES OF DEVONSHIRE.
autumn pure yellow, orange, and red-brown colors
will have to be substituted for the greens. Paint all Crayon is understood
time than the former method drawing generally among
; but, if possible, it will
the shadows with very thin color, little more than artists to apply to the use of black on white
be better to make finished in color. crayon
sketches
Peruvian and Prussian raw or or tinted paper, and is used for portraiture
glazes. yellow blue, principally
Walter Tomlinson.
burnt umber and the same, will all be found excel and figure charcoal for
drawing, being preferred
lent glazing colors for green as it is so
shadows. For shadows sketching, easily handled. The method of
across a road, a mixture of black, white, and Indian using crayon is very similar to that used in charcoal
FL O W?R-PA INT ING IN WATER-COLORS.
red you will find will the chief advantage of the former, however,
approach Jvery near to nature. drawing,
being that it is more durable, not erased ;
IV. easily
In painting the convolvulus, or minor, moreover, very brilliant effects of black are obtained
either major
the student need be warned to begin at an
with less difficultyin using crayon than with char
scarcely
early hour in the morning, as from the time of their
first expansion of a bright blue color, these flowers

gradually change to a redder hue until midday, when

they become entirely withered. Either cobalt or


French a very
with
blue, slight mixture of
crimson lake, may be used for the local color,
but, of course, the more blue this is, the fresh
er and more the flower will
newly expanded
appear. The shadows may .be painted with
the same colors, substituting in the darker
tones indigo for the cobalt or French blue.
For the salvia, smalt or ultramarine must
be used, no other colors being sufficiently
brilliant in the particular tone required. But
the difficulty
ofworking smoothlywith either
of these will prevent their being much resorted
to, although the latter is not only the purest
blue known, but also the most permanent.
It will be found, after representing any of the
flowers already mentioned, to the
according
directions given, that the are
tints produced

very nearly equal to nature ; they are, indeed,


in no respect inferior as regards color, and
destitute only of that lustre (sometimes almost

metallic) which so much to the


gives beauty
petals of a flower. A brilliant blue, yellow,
scarlet, and rose are all furnished with ease by
the colomian, and the resources of chemistry
have hitherto proved inadequate to the produc
tion of one shade alone. This, which, hover

ing between crimson and purple, can scarcely


MINIATURE BY JOHN SMART. be called by either name, is in nature of fre miniature by richard cosway.
quent occurrence; in the most brilliant petunias
cinerarias
and it is particularly beautiful, and
Where water comes into sketch, remember would in painting be most valuable, were it in the coal. For this charcoal
reason, are often
your drawings-
that its general hue will be that of the sky, but not power of any known pigments to produce it ; but, by finished off with hard
crayon. This practice, in fact,
so strong ; and into this the reflections must be the side of nature, our tints appear little is almost universal with the life drawings in the best
quite brightest
1
in their appropriate colors. more than dull brown, and as any attempt to imitate art schools, both here and in France.
painted
If the sketch be made with an intention of painting flowers of this color must end in disappointment, the The paper used for crayon may be either the
afterward a finished from it, the student reader is recommended to avoid the trial, which, even French or crayon paper, and may be either
picture English
should not rely upon any mere record of color and when assisted by the utmost skill of contrast and exe white or of any light tint desired. Some verygood
effect. Such a one may be very useful for reference ; cution, can only prove, at best, a success. effects are on dark
partial produced by drawing gray-blue

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