Yesterday, towards evening, I
thought it was finished. Her eyes were liquid, her flesh trembled, her
tresses waved--she breathed! And yet, though I have grasped the secret
of rendering on a flat canvas the relief and roundness of nature, this
morning at dawn I saw many errors. Ah! to attain that glorious result,
I have studied to their depths the masters of color. I have analyzed
and lifted, layer by layer, the colors of Titian, king of light. Like
him, great sovereign of art, I have sketched my figure in light clear
tones of supple yet solid color; for shadow is but an accident,
--remember that, young man. Then I worked backward, as it were; and
by means of half-tints, and glazings whose transparency I kept
diminishing little by little, I was able to cast strong shadows
deepening almost to blackness. The shadows of ordinary painters are
not of the same texture as their tones of light. They are wood, brass,
iron, anything you please except flesh in shadow. We feel that if the
figures changed position the shady places would not be wiped off, and
would remain dark spots which never could be made luminous. I have
avoided that blunder, though many of our most illustrious painters
have fallen into it. In my work you will see whiteness beneath the
opacity of the broadest shadow. Unlike the crowd of ignoramuses, who
fancy they draw correctly because they can paint one good vanishing
line, I have not dryly outlined my figures, nor brought out
superstitiously minute anatomical details; for, let me tell you, the
human body does not end off with a line.
Pages:
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29