Excerpt from Landscape and Figure Composition Mr. Hartmann is a well - known art writer and critic. He is an expert with the camera, as well as with the pencil and brush; and his instructions may, therefore, be depended upon as thoroughly reliable and helpful, not only by students of photography, but also by students of the fine arts as well. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

Landscape and Figure Composition by Sadakichi Hartmann, first published in 1910, is a rare manuscript, the original residing in one of the great libraries of the world. This book is a reproduction of that original, which has been scanned and cleaned by state-of-the-art publishing tools for better readability and enhanced appreciation. Restoration Editors' mission is to bring long out of print manuscripts back to life. Some smudges, annotations or unclear text may still exist, due to permanent damage to the original work. We believe the literary significance of the text justifies offering this reproduction, allowing a new generation to appreciate it.

What are the secrets of great landscape painting? Discover them in a straightforward, highly visual and enjoyable way with this unique handbook that will quickly become an indispensable companion for painting landscapes in oils, acrylics, pastels etc. Designed as much for beginners as for experienced artists, it is a complete and engaging practical guide to landscape painting. Highly visual, straightforward and easy to use, this manual is an indispensable tool in discovering the secrets hidden beneath great paintings and how to apply them to your own work. Designed both for those new to landscape painting and artists experienced within the genre, this is a comprehensive practical guide that is engaging and inspiring. Illustrated in collaboration with some of the best contemporary landscape painters, the book has hundreds of images and diagrams, as well as QR links to complementing videos , which help readers understand and put to use the techniques and information set out in each chapter. You will discover composition as your greatest ally in depicting landscapes at their most engaging as well as how to maximise your creative experience and process. You will: Get to know and learn to use essential compositional resources for successful paintings. Improve the spatial depth and three-dimensionality of your landscapes Establish visual pathways through your paintings to attract and hold the viewer ́s attention. Identify which types of landscapes are interesting to paint. Discover better formats, framing and view-points. You will also learn how to: In summary - an essential guide for learning to paint and to appreciate landscapes. Create and reinforce a focal point to increase a painting ́s intensity. Highlight or adjust elements of a landscape, depending on what you wish to express. Master the different perspective types applicable to landscapes. Decide the most appropriate pictorial treatment for each area of a painting, depending on its role within the painting. José Payá is the director of "Gaia, Centro de Estudios de Arte y Restauración" (Gaia Centre for the Study of Art and Restauration), the most prestigious art school in Valencia (Spain) and has taught landscape painting since 1992. As a result of his desire to improve amateur learning and to address shortcomings he has detected in the range of books available teaching landscape painting, his series ̈The Secrets of Landscape Painting: Landscape Painting and Composition) was born. This is the first volume, to be followed by six additional titles. His work is available to view and purchase at www.josepaya.es.

Excerpt from Landscape and Figure, Painters of America HE work of no American painter of landscape more certainly requires an intimate acquaint ance for its full enjoyment or more fully repays one for a painstaking study of its various manifestations than that of Homer Dodge Martin. Inness, who was unquestionably a greater master, in all the wide range of his product never but once or twice touches one so nearly. Wyant, who was more closely akin temperamentally, touches one oftener though never so nearly nor so deeply. His was also a poetic in terpretation of nature notable for its refinement in the same sense as Martin's; his vision, however, was much more limited than either Martin's or Inness's and he was obviously incapable of developing the larger aspects of a theme as they did. Wyant and Martin were both poets in landscape; Wyant is lyrical, Martin epic in his product. One may prefer the one or the other, but of relative valueof the Work of the two there can be no reasonable difference of opinion. Inness and Wyant, the former in a large and the latter in a smaller way, are both emotional painters. Martin is consciously intellectual. He selected his subjects with so com prehensive a knowledge of their adaptability to his needs and with so delicate an appreciation of their possibilities for the expression of his moods that one of his closest friends once said that his finest canvases looked as if no one but God and he had ever seen the places pictured. Wyant and Inness painted more nearly whatever happened to excite their emotion. That the emotions of the latter were of many kinds and those of the former of but few explains the variety in the product of the one that is lacking in that of the other. Wyant's paint ings are full of sentiment of a very exquisite sort, tender but too serious ever to even approach sen timentality. Inness's are charged with much stronger feeling but seldom so finely felt if invaria bly more ably expressed. Indeed, both Wyant and Martin express more successfully the rarer as peets of nature and Inness's pre-eminence rests upon the variety of his achievement and the high average of its excellence rather than upon any superior ability in the matter of expression. Inness is too fully engrossed in the reproduction of the actual appearances of things to bother with their spiritual. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.