Trees and Tree Drawing

Whilst the greatest effort has been made to ensure the quality of this text, due to the historical nature of this content, in some rare cases there may be minor issues with legibility. The student Who would become a figure painter goes through a course Of drawing from the life and devotes considerable time to the study of anatomy. The young landscape painter is apt to confine his studies, if he make any at all, to effects of light and colour and notes of composition, The anatomy and construction of the component parts of his subjects are Often not seriously considered. He too Often forgets that buildings and trees and rocks are formed upon fixed principles and governed by set laws in their relationship to each other. In almost all picture exhibitions examples may be found Of houses of impossible architectural construction, rocks foreign to their surroundings, and trees which are unrecognizable, or growing under unnatural conditions. The figure painter knows that inaccuracies in drawing will be readily discovered and condemned the landscape painter is aware that a general ignorance of tree forms has hitherto permitted ill - drawn landscapes to pass muster. The former has brought the study of anatomy to his aid to the latter it is becoming more and more necessary to derive assistance from architecture, geology, and botany.

The student Who would become a figure painter goes through a course Of drawing from the life and devotes considerable time to the study of anatomy. The young landscape painter is apt to confine his studies, if he make any at all, to effects of light and colour and notes of composition, The anatomy and construction of the component parts of his subjects are Often not seriously considered. He too Often forgets that buildings and trees and rocks are formed upon fixed principles and governed by set laws in their relationship to each other. In almost all picture exhibitions examples may be found Of houses of impossible architectural construction, rocks foreign to their surroundings, and trees which are unrecognizable, or growing under unnatural conditions. The figure painter knows that inaccuracies in drawing will be readily discovered and condemned the landscape painter is aware that a general ignorance of tree forms has hitherto permitted ill — drawn landscapes to pass muster. The former has brought the study of anatomy to his aid to the latter it is becoming more and more necessary to derive assistance from architecture, geology, and botany.