THE PAINTER IN OIL

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, andI 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.