25 AUGUST 1838, Page 20

PROUT ON LIGHT AND SHADOW.

THE subject of Light and Shadow, with reference to the art of picture. making, would seem already exhausted ; but if little that is really new can be said, the mere reiteration of established axioms in a clear and concise manner, and with the sanction of a popular name, is a benefit to art ; especially at the present time, when truth and nature are so often sacrificed to trickery of hand and meretricious colouring. In Hints on Light and Shadow and Composition as applicable to Landscape Painting, the veteran SAMUEL PROUT has condensed the re- sult of a life-lung experience of the soundness of the precepts be en. forces : to the steady and successful practice of them, indeed, be owes his deservedly high reputation as a water-colour painter—a reputation that he has maintained undiminished amidst the various changes of style that have taken place in this popular branch of art. Perhaps no living artist has been less. influenced by the fashion of the day than PROUT; and certainly no one has stood his ground so well. His manner, that now seems peculiar, was when he set out practised by GIRTIN and others, and by TURNER in his early day : this mode, indeed, was the foundation of the water.colour school. It is not, properly speaking, " painting," but tinting, or coloured drawing ; the reed pen being freely used to express the outlines and details, and slight washes of colour added to convey a pervading tone, in which the hues of local objects are merged. The sober simplicity of' this method, so congenial with massing and breadth, when combined with a strict attention to accuracy of form, gives to its productions a charm of homely truth that no after improvement can render insipid. It is quite a refreshment to the eye, overstimulated by the garish colour and startling effects of the " dash- ing " manner at present in vogue, to turn from such crude and flashy daubs to the modest beauty and solid excellence of GIRTIN, and PROUT, and TURNER jeune—not jaune. PROUT has latterly attained greater force of colour ; but his crumbly touch, that softened the harshness of his bold outline, and so picturesquely conveyed the broken edges of time-worn buildings, has become too rigid in its strength : the vigour and general correctness of his delineations, however, and the breadth and coherence of his masses of light and shade, redeem this defect. We have thus adverted to the author and his pictorial productions, because he has illustrated his instructions by examples drawn entirely from his own works ; thus showing that the principles he lays down formed the basis of his practice, as they must of all sterling art. He enunciates them, too, with such perspicuity and terseness, that they deserve to be written in letters of gold, as maxims of experience. Though not comprising the cycle of art, light and shadow include all the essentials of a picture but colour. Outline is but the boundary of form ; and its value consists in truly indicating what light and shadow only can fully express : it is not a component part of a well-finished picture.—being only the outer edge of substance, and visible merely by the opposition of other objects ; nevertheless, on the accuracy of the outline depends the correctness of the representation, it being the guide of the painter. Premising thus much, we shall now let the author speak for himself. The two most valuable principles of art are those which inculcate correct drawing and breadth of effect. Hear SAMUEL PROUT on these two cardinal points.

"Perspective and correctness of outline, to the artist, like perspicuity and grammatical accuracy in the writer, are not so much accessories as prerequisites. Correct drawing is essential to every great work of art : nothing can atone for the want of it, as without it all other excellences will be valueless. • • • "Light and shadow place power in the band of an artist to sink what is un- seemly into obscurity, and to raise features requiring prominence into suitable

conspicuousness. • • • "Breadth of light and shadow is a quality too much neglected, and too little felt, without which the highest finishing and most laborious detail will always fail to prove the master.mind or hand ; the excellence of light and shadow mainly depending on breadth." • • •

Breadth is a term applicable only to effects of light and sha- dow; and its importance may be best shown by simply stating, that it tends to realize in a picture the atmospheric appearances in nature ; where those parts of objects facinq the sun's rays are steeped in light, while the others are in shadow. An example of "breadth " in nature may be seen in a street with one aide in sun and the other in shade ; or in an evening or early morning effect in the open country. The broad masses of light and shadow are respectively varied by incidental points of dark and light subordinate to the general effect, and prevent- ing tameness or monotony. To combine these its one complete whole, by concentrating the light to a focus, so as to give the idea of a scene viewed from one point, is the object of the " point of light "—the key- note of the composition—alluded to in the following passage.

BREADTH OF MOONLIGHT EFFECT.

"Light and shadow may be studied to the greatest advantage by moonlight, when the train of light is more clearly traced, and more positive than in sun- shine. In obedience to the poet's well-known advice, buildings, particularly, may best be ems in the ' pale moonlight.' It is not only fair Melrose' which should then be visited by those who would wish to 'see it aright,' for ruins of such exquisite architecture must be beautiful at all times, and under every diversity of effect ; but edifices of far inferior beauty, if their outline ana

ral form be good, will then start forth into prominence, while all the lack

egsg-' details, which in ' garish day' offend the eye, will be softly mellowed into—ok grand and harmonious whale. Travellers have come away from a moonlieht view of the Coliseum with vivid admiration, such as no daylight visit emit: spired : and let all who wish to pay just homage to the genius of our unrivalled Wren, pace round and about his magnificent temple at the same still and Nolen hour, and the grandeur and unity of his design will leave an impression pm, before experienced, and never to be forgotten. The characteristics of moos light are the essential requisites of good effect ; such as concentrated brilliancy, with smaller glittering lights, large masses of shadow, and a point of light or posed to the deepest shade, while all the minor details become invisible, and sink in the simplicity and grandeur of the whole."

It is too common a practice for artists to content themselves with mere outlines of form in sketching from nature, and manufacturing these meagre memoranda into pictures at home : this is the main cause of that sameness of treatment observable in the works of some of the most popular artists. Of the two, effects are infinitely more vale. able when taken direct from nature, than mere forms : objects the artist may see at any time, but the lovely appearances of light and colour can neither be recalled nor invented : the sketcher must "catch, e'er it fly, the Cynthia of the minute." Colouring from nature is more practised than it used to be : the following advice, however, is toe much needed even yet.

STUDYING FROM NATURE

" The whole design must be clearly conceived before the picture is begun; nothing should be admitted or omitted at random. Each object has, in truth, a place proper for itself, and all that is introduced should be with an intention. In the painter's sketch, or study, the treatment, or broad intention, which it a his object to secure, must be strongly expressed, leaving all minute details to be supplied as they may be required, or as they may suggest themselves in the pro. gress of the work.

" The feeling how best to dispose of circumstances, or to make those altera. tines which may be thought necessary to perfect a picture, should be caught

from Nature, at the time of making the sketch. This is one of the most cer tain means of improvement, and so important that no temptation should be sa inducement to neglect it. At that time is seen the fitness of combinations to insure harmony in the composition. Memory must not be trusted to row.

plete at home what can be done, and only well done, on the spot. The artist

is then borrowing a leaf from Nature's own book--from the pages-of that great teacher who will enable him to surmount the most formidable difficulties,

and place within his reach all her choicest beauties. Every sketch thus made,

even though slight, is of more real value than portfolios of home.finishai drawings ; which, however carefully executed, will never possess the freshness

and fusee inseparable from fit at thoughts. More mischief is done by thus en.

deavoui ing to improve upon an original outline, or effect, than the nicest ens. cation can ever compensate."

We must find room for these judicious remarks on prevalent defects of an opposite character.

DASHING EXECUTION.

" Rapidity of exceutime, or the dashing off a picture in a short time, cannot be designated other than a specious delusive dexterity ; a fruitful source of mis- chief, which commonly rims either into carelessness or degenerates into man. nerism ; and, unless resolutely abandoned, must lead to the fatal and inevitable results of bad taste and bad drawing, uncut reeled mistakes, and settled defects, Every touch of the pencil should have its intent and meaning ; and if the artist, from trick or carelessness, insert strokes not significant to his own mind, they never will be intelligible, much less beautiful or satisfactory to others."

OVER•ELABORATION.

" There are artists, again, who make hiyh finishing their resting-place; whose laborious works are ostentatious displays of 'dexterity, with contracted feelings, injurious both to the profession and reputation of the painter. An excess of labour does but weaken original vigour ; and the diversified and vivid, thus overwrought, becomes dull and monotonous ; for " to paint pal ticulars is not to paint Nature, it is only to paint circumstances." Some parts in every plc. tore require to be expressed with force ; others there are subordinate, to be but faintly touched and skilfully slighted : finish and effect being reserved for what is moat interesting. The chief business of the artist should be to generalise ideas: he most possess feeling to avail himself of those occasional combinations which embellish, ennoble, and give grace to his subject. The spectator in surveying a heautiful scene derives his pleasure not from the parta taken sepa- rately, but from the impression of an harmonious whole: for the same ream, minute and elaborately-finished pictures never strongly impress the mind, and are but mere curiosities to gratify persons insensible to higher excellences."

MANNERISNI.

Few evils are more fatal to success than mannerism, where an uniformity of touch or handling is employed throughout. These means and appliances are never veiled,—the poor ambition seems to be little more than an exhibition of forms and touches. An artist should conceal his materials : never should he aim at a worthless display of adroitness; for such practice is utterly at variance with Nature, injurious to the true cultivation of art, and destructive of its grand aim and end."

The twenty plates of illustrations, each one containing two or more miniature pictures, drawn by the artist himself in tinted lithography, make up a very pretty book of album scraps, independently of their utility as examples. They consist of street and marine scenes, with architecture, boats, and groups of figures; PROUT does not draw trees, nor excel in distances.