Project Gutenberg's The Painter in Oil, by Daniel Burleigh ParkhurstThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever. You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.netTitle: The Painter in OilA complete treatise on the principles and techniquenecessary to the painting of pictures in oil colorsAuthor: Daniel Burleigh ParkhurstRelease Date: January 6, 2010 [EBook #30877]Language: English*** START OF THIS PROJECT GUTENBERG EBOOK THE PAINTER IN OIL ***Produced by Juliet Sutherland, Ritu Aggarwal and the OnlineDistributed Proofreading Team at http://www.pgdp.netCover Page.November Beechwood. November Beechwood. D. Burleigh Parkhurst.THE PAINTER IN OILA COMPLETE TREATISEONTHE PRINCIPLES AND TECHNIQUENECESSARY TOTHE PAINTING OF PICTURES IN OIL COLORSBYDANIEL BURLEIGH PARKHURSTPUPIL OF WILLIAM SARTAIN, OF BOUGUEREAU AND TONY-FLEURY, AND OFAIMÉE MOROT; MEMBER OF THE NEW YORK WATER COLOR CLUB;FORMERLY LECTURER ON ART IN DICKINSON COLLEGE;AUTHOR OF "SKETCHING FROM NATURE," ETC."La peinture à l'huile est bien difficile;Mais beaucoup plus beau que la peinture à l'eau."BOSTON:LOTHROP, LEE & SHEPARD CO.Copyright, 1898, by Lee and ShepardAll Rights ReservedThe Painter in OilTYPOGRAPHY BY C. J. PETERS & SONPRESSWORK BY BERWICK & SMITH, NORWOOD PRESSNORWOOD MASS.TOA. M. P.THIS BOOK IS AFFECTIONATELY ...
Project Gutenberg's The Painter in Oil, by Daniel Burleigh Parkhurst
This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever. You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at www.gutenberg.net
Title: The Painter in Oil
A complete treatise on the principles and technique
necessary to the painting of pictures in oil colors
Author: Daniel Burleigh Parkhurst
Release Date: January 6, 2010 [EBook #30877]
Language: English
*** START OF THIS PROJECT GUTENBERG EBOOK THE PAINTER IN OIL ***
Produced by Juliet Sutherland, Ritu Aggarwal and the Online
Distributed Proofreading Team at http://www.pgdp.net
Cover Page.
November Beechwood. November Beechwood. D. Burleigh Parkhurst.
THE PAINTER IN OIL
A COMPLETE TREATISE
ON
THE PRINCIPLES AND TECHNIQUE
NECESSARY TO
THE PAINTING OF PICTURES IN OIL COLORS
BY
DANIEL BURLEIGH PARKHURST
PUPIL OF WILLIAM SARTAIN, OF BOUGUEREAU AND TONY-FLEURY, AND OF
AIMÉE MOROT; MEMBER OF THE NEW YORK WATER COLOR CLUB;
FORMERLY LECTURER ON ART IN DICKINSON COLLEGE;
AUTHOR OF "SKETCHING FROM NATURE," ETC.
"La peinture à l'huile est bien difficile;
Mais beaucoup plus beau que la peinture à l'eau."
BOSTON:LOTHROP, LEE & SHEPARD CO.
Copyright, 1898, by Lee and Shepard
All Rights Reserved
The Painter in Oil
TYPOGRAPHY BY C. J. PETERS & SON
PRESSWORK BY BERWICK & SMITH, NORWOOD PRESS
NORWOOD MASS.
TOA. M. P.
THIS BOOK IS AFFECTIONATELY INSCRIBED.
September 4th, 1897.PREFACE
Books of instruction in the practice of painting have rarely been successful. Chiefly because they have been too narrow in
their point of view, and have dealt more with recipes than with principles. It is not possible to give any one manner of
painting that shall be right for all men and all subjects. To say "do thus and so" will not teach any one to paint. But there
are certain principles which underlie all painting, and all schools of painting; and to state clearly the most important of
these will surely be helpful, and may accomplish something.
It is the purpose of this book to deal practically with the problems which are the study of the painter, and to make clear, as
far as may be, the principles which are involved in them. I believe that this is the only way in which written instruction on
painting can be of any use.
It is impossible to understand principles without some statement of theory; and a book in order to be practical must
therefore be to some extent theoretical. I have been as concise and brief in the theoretical parts as clearness would
permit of, and I trust they are not out of proportion to the practical parts. Either to paint well, or to judge well of a painting,
requires an understanding of the same things: namely, the theoretical standpoint of the painter; the technical problems of
color, composition, etc.; and the practical means, processes, and materials through which and with which these are
worked out.
It is obvious that one cannot become a good painter without the ability to know what is good painting, and to prefer it to
bad painting. Therefore, I have taken space to cover, in some sort, the whole ground, as the best way to help the student
towards becoming a good painter. If, also, the student of pictures should find in this book what will help him to appreciate
more truly and more critically, I shall be gratified.
D. B. P.
December 4, 1897CONTENTS
PART I.—MATERIALS
CHAPTER PAGE
I. Observations 3
II. Canvases and Panels 6
III. Easels 15
IV. Brushes 20
V. Paints 33
VI. Vehicles and Varnishes 61
VII. Palettes 65
VIII. Other Tools 69
IX. Studios 76
PART II.—GENERAL PRINCIPLES
X. Mental Attitude 85
XI. Tradition and Individuality 95
XII. Originality 103
XIII. The Artist and the Student 107
XIV. How to Study 110
PART III.—TECHNICAL PRINCIPLES
XV. Technical Preliminaries 123
XVI. Drawing 126
XVII. Values 138
XVIII. Perspective 146
XIX. Light and Shade 151
XX. Composition 166
XXI. Color 184
PART IV.—PRACTICAL APPLICATION
XXII. Representation 209
XXIII. Manipulation 224
XXIV. Copying 236
XXV. Kinds of Painting 242
XXVI. The Sketch 245
XXVII. The Study 254
XXVIII. Still Life 260
XXIX. Flowers 280
XXX. Portraits 286
XXXI. Landscape 309
XXXII. Marines 335
XXXIII. Figures 347
XXXIV. Procedure in a Picture 371
XXXV. Difficulties of Beginners 389LIST OF ILLUSTRATIONS
PAGE
November Beechwood Parkhurst Frontispiece
Stretchers 11
Canvas Pliers 13
Double-Pointed Tack 13
Easel 16
Easel 17
Sketching Easel 18
Sketching Easel 19
Brushes.— Red Sable, Round 22
Red Sable 23
Red Sable, Flat 24
Round Bristle 26
Flat Bristle 28
Flat Pointed 29
Fan 30
Brush Cleaner 31
Oil Colors 54
Oval Palette 65
Arm Palette 67
The Color Box 70
Palette Knife 71
The Scraper 72
The Oil-Cup 73
Mahl-Sticks 73
Three-legged Stool 74
Sketching Chair 74
Sketching Umbrella 75
Drawing of Hands 134Dürer
Eggs. White against White 154
The Canal 156Parkhurst
Bohemian Woman Franz Hals 159
Sewing by Lamplight 161Millet
Descent from the Cross 163
The Golden Stairs 174
The Sower 175Millet
Return to the Farm 178Millet
The Fisher Boy Franz Hals 217
Boar-Hunt 221Snyders
Good Bock Manet 227
Sketch of a Hillside 246
The River Bank Parkhurst 250
Study of a Blooming-Mill 257Parkhurst
Still Life, No. 1 265
Still Life, No. 2 266
Still Life, No. 3 267
Still Life, No. 4 269
Still Life, No. 5 270
Still Life, No. 6 271
Sweet Peas 282
Dürer 289by Himself
Portrait of his Mother Whistler 291
Portrait of Himself 293ValasquezPortrait 297Parkhurst
Haystacks in Sunshine Monet 307
On the Race Track 314Degas
Willow Road Parkhurst 317
Entrance to Zuyder Zee 337Clarkson Stanfield
Girl Spinning 345Millet
Sketch of a Flute Player Parkhurst 355
Milton Dictating "Paradise Lost" 363Munkacsy
Buckwheat Harvest Millet 368
Study of Fortune 373Angelo
Ébouch of Portrait 379Th. Robinson
Landscape Photo. No. 1 394
Landscape Photo. No. 2 395PART I
MATERIALS
THE PAINTER IN OILCHAPTER I
GENERAL OBSERVATIONS
There is a false implication in the saying that "a poor workman blames his tools." It is not true that a good workman can
do good work with bad tools. On the contrary, the good workman sees to it that he has good tools, and makes it a part of
his good workmanship that they are in good condition.
In painting there is nothing that will cause you more trouble than bad materials. You can get along with few materials, but
you cannot get along with bad ones. That is not the place to economize. To do good work is difficult at best. Economize
where it will not be a hindrance to you. Your tools can make your work harder or easier according to your selection of
them. The relative cost of good and bad materials is of slight importance compared with the relative effect on your work.
The way to economize is not to get anything which you do not need. Save on the non-essentials, and get as good a
quality as you can of the essentials.
Save on the number of things you get, not on the quantity you use. You must feel free in your use of material. There is
nothing which hampers you more than parsimony in the use of things needful to your painting. If it is worth your while to
paint at all, it is worth your while to be generous enough with yourself to insure ordinary freedom of use of material.
The essentials of painting are few, but these cannot be dispensed with. Put it out of your mind that any one of these five
things can be got along without:—
You must have something to paint on, canvas or panel. Have plenty of these.
You must have something to set this canvas on—something to hold it up and in position. Your knees won't do, and you
can't hold it in one hand. The lack of a practical easel will cost you far more in trouble and discouragement than the
saving will make up for.
You must have something to paint with. The brushes are most important; in kind, variety, and number. You cannot
economize safely here.
You must have paints. And you must have good ones. The best are none too good. Get the best. Pay a good price for
them, use them freely, but don't waste them.
And you must have something to hold them, and to mix them on; but here the quality and kind has less effect on your work
than any other of your tools. But as the cost of the best of palettes is slight, you may as well get a good one.
Now, if you will be economical, the way to do it is to take proper care of your tools after you have got them. Form the
habit of using good tools as they should be used, and that will save you a great deal of money.CHAPTER II
CANVASES AND PANELS
You should have plenty of canvas on hand, and it would be well if you had it all stretched ready for use. Many a good day's
work is lost because of the time wasted in getting a canvas ready. It is not necessary to have many kinds or sizes. It is
better in fact to settle on one kind of surface which suits you, and to have a few practical sizes of stretchers which will
pack together well, and work always on these. You will find that by getting accustomed to these sizes you work more
freely on them. You can pack them better, and you can frame them more conveniently, because one frame will always do
for many pictures. Perhaps there is no one piece of advice which I can give you which will be of more practical use
outside of the principles of painting, than this of keeping to a few well-chosen sizes of canvas, and the keeping of a
number of each always on hand.
It is all well enough to talk about not showing one's work too soon. But we all do, and always will like to see our work
under as favorable conditions as possible. And a good frame is one of the favorable conditions. But good frames are
expensive, and it is a great advantage to be able to have a frame always at hand which you can see your work in from
time to time; and if you only work on four sizes of canvas, say, then four frames, one for each size, will suit all your
pictures and sketches. Use the same sizes for all kinds of work too, and the freedom will come, as I say, in the working
on thos