Stranica 23 [23]
INTRODUCTION 3
tirely spoilt through carelessness in drawing reflex¬
ions, and some of the more common errors are pointed
out in the first two chapters. These are easily cor¬
rected, but when we come to the question of colour
the problem is more complicated. There are so many
factors to take into account, and these factors are so
variously combined in different cases, that it is diff¬
cult, and often impossible, to lay down definite direc¬
tions. [his is particularly the case in rough or rippled
water, the colours of which are considered in Chapter
IV, but even here an acquaintance with the ele¬
mentary principles will be of use. It will enable the
student when at work to test the correctness of his
own drawings, and in his common observations will
constantly quicken his perception of subtle differ¬
ences of colour and tone which might easily have
escaped him. To give an illustration. [here are
probably few people who either think that all colour
seen in water belongs to the water or suppose it to
be entirely due to reflexion, for no one who has at¬
tempted to paint the sea, or taken the trouble to con¬
sider the matter, can have failed to realize that, though
the water shows colour of its own, it is largely affected
by the colour of the sky. But many amateurs possess
only an imperfect knowledge of the question, with
the result that in marine paintings we frequently
notice a lack of adequate harmony in colour between
sea and sky, and perhaps as often an exaggerated ex¬
pression of it. It is hoped that such persons will be
enabled to appreciate more accurately the extent and
the limits of this harmony by a consideration of the
conditions on which they depend.