Chapter XIII (see also page 113). Lay in the picture in light values of
charcoal, remembering that the colorwashes will darken every tone. Too much rubbing with the stump gives muddiness, too little charcoal may weaken the values and you will have a “washout.” When the notan‐scheme is right, the drawing may be fixed. It can be colored without fixing if the stump has been used.
Color is applied in thin washes allowing the charcoal texture to shine through. Notan plays the larger part, furnishing the structure of the composition and giving a harmonic basis for the color. If the hues are well‐chosen, the result should be a harmony of atmospheric depth, with soft but glowing colors.
PAINTING in FULL COLOR. In a book devoted to the study of art‐structure not much space can be given to comparison of mediums, or to professional problems of technique in advanced painting. They will be mentioned to show the unity of the progressive series, to suggest to the student some lines of research and experiment, and to help him in choosing his field of art‐ work.
WATER COLOR. This medium is used in many different ways: as a thin transparent stain, like the work of David Cox, Cotman, De Wint; as a combination of opaque color and wash, with which J. M. W. Turner painted air, distance, infinity, the play of light over the world; as flat wash filling in outlines, like the drawings of Millet and Boutet de Monvel; as the modern Dutch use it, in opaque pastel‐like strokes on gray paper, or scrubbed in with a bristle brush; as premier coup painting with no outline (both drawing and painting) like much Japanese work.
In all these, line is the basis, whether actually drawn, as by Millet and Rembrandt, or felt, as by the Japanese and Turner. The best painting has form and character in every brush‐touch.
OIL COLOR. Instruction in oil painting is usually limited to what might be called drawing in paint. Of course the student must know his pigments, how to obtain hues and values by mixing, how to use brushes, how to sketch in, and all the elementary details,—but this is but a beginning. Expression of an idea or emotion depends upon appreciation of art structure; the point is not so much how to paint, as how to paint well. Artists often say that it matters not how you get an effect, if you only get it. This is misleading; it does matter,—the greatest painters get their effects in a fine way.
Methods of handling oil color may be reduced to two general classes: (a) the paint is used thin, as a wash, on a prepared canvas, or (b) it is put on in thick opaque touches. In either case the aim is the same—to paint for depth, vibration, illusion of light and color. If brush strokes are to be left intact, each of them must have shape and meaning,—that is, line; if color is put on in a thin wash, then its value, gradation, hue and texture are the main points,—and these belong to structural harmony. Mural painting is the highest form of the art, demanding perfect mastery of Composition. The subject takes visible form in terms of Line; then is added the mystery, the dramatic counter‐play of Notan, and the illumination of Color. The creative spirit moves onward absorbing in its march all drawing, perspective, anatomy, principles of design, color theory—everything contributing to Power.
CONCLUSION
I have not attempted to overthrow old systems, but have pointed out their faults while trying to present a consistent scheme of art study. The intention has been to reveal the sources of power; to show the student how to look within for the greatest help; to teach him not to depend on externals, not to lean too much on anything or anybody. Each subject has been treated suggestively rather than exhaustively, pointing out ways of enlargement and wide application. If some subjects have seemed to receive rather scant attention it is not because I am indifferent to them, but because I did not wish to depart from the special theme of the book; some of these will be considered in future writings. The book will have accomplished its purpose if I have made clear the character and meaning of art structure—if the student can see that out of a harmony of two lines may grow a Parthenon pediment or a Sorbonne hemicycle; out of the rude dish of the Zuni a Sung tea‐bowl, out of the totem‐pole a Michelangelo’s “Moses”; that anything in art is possible when freedom is given to the divine gift APPRECIATION.
THE END