Excerpt from The Art of Landscape Painting in Oil Colours The following pages treat of one branch of the Art of Oil Painting - that of imitating upon canvas, with fidelity and truth, the varied aspects of Nature, as they present themselves to the eye in Landscape. It is taken for granted that the pupil is so far acquainted with the general principles of Drawing and Perspective, as to be able to apply them with facility and certainty to the representation, in out line, of a given view or subject. This being the case, he will see principles and rules here laid down which will place within his reach the power of secur ing to himself one of the most delightful and agree able accomplishments he can possess. These rules he will find compressed within moderate limits but he will find them also to be fully sufficient to ensure no mean proficiency in the practice of the Art, if hewill apply himself to the pursuit with thoughtful diligence and patient assiduity. In order that the subject may be laid before him clearly and methodically, the matter is generally divided into three parts. The First Part consists of a description of the Implements and Materials used in the branch of Art here treated of. The Second Part contains a concise but clear explanation of the general Processes and Manipulations by which the various pictorial effects can be faithfully represented. The Third Part con sists of an explanation of the Principles upon which a Landscape should be painted, and of the Mode of applying the processes and manipulations described in the previous part. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.