tailieunhanh - Outdoor Sketching Four Talks Given Before The Art Institute of Chicago

My chief reason for confining these four talks to the outdoor sketch is because I have been an outdoor painter since I was sixteen years of age; have never in my whole life painted what is known as a studio picture evolved from memory or from my inner consciousness, or from any one of my outdoor sketches. My pictures are begun and finished often at one sitting, never more than three sittings; and a white umbrella and a three-legged stool are the sum of my studio appointments. | Outdoor Sketching Four Talks Given Before The Art Institute of Chicago The Scammon Lectures 1914 By F. Hopkinson Smith With Illustrations by the Author New York Charles Scribner s Sons Copyright 1915 by CHARLES SCRIBNER S SONS Contents Page I. Composition 3 II. Mass 39 III. Water-Colors 75 IV. Charcoal 119 Illustrations Part of the Site of the Marshalsea Jail London Frontispiece FACING PAGE Under the Willows Cookham-on-Thames 84 The George and Vulture Inn London 136 Diagram of Charcoal Technic 142 3 COMPOSITION My chief reason for confining these four talks to the outdoor sketch is because I have been an outdoor painter since I was sixteen years of age have never in my whole life painted what is known as a studio picture evolved from memory or from my inner consciousness or from any one of my outdoor sketches. My pictures are begun and finished often at one sitting never more than three sittings and a white umbrella and a three-legged stool are the sum of my studio appointments. Another reason is that outside of this ability to paint rapidly out-of-doors I know so little of the many processes attendant upon the art of the painter that both my advice and my criticism would be worthless to even the youngest 4 of the painters to-day. Again I work only in two mediums water-color and charcoal. Oil I have not touched for many years and then only for a short time when a student under Swain Gifford and this of course many many years ago who taught me the use and value of the opaque pigment which helped me greatly in my own use of opaque water-color in connection with transparent color and which was my sole reason for seeking the help of his master hand. A further venture is to kindle in your hearts a greater love for and appreciation of what a superbly felt and exactly rendered outdoor sketch stands for a greater respect for its vitality its life-spark the way it breathes back at you under a touch made unconsciously because you saw it recorded it and then forgot it best of