The Painter in oil

Background. - Under the general title of background you may place everything
which will come in as accessory to the figure, and against or alongside of which it stands.
The picture must ‘hang together;’ must have envelopment; must be a whole, not an
aggregation of parts. Everything that goes to the making up of this whole must have a
natural and logical connection with it. From the first conception of the picture you must
consider the background as an essential part of it, and as something which will have a
vital effect upon the figure. The color of the background must be though of as part of,
because affecting, the figure itself. The simplicity or variety in the background, the
number of objects in it, must be considered as to the effect on the figure also. You cannot
make the background a patchwork of objects and colors without interfering with the
effect of the main thing in the picture.
If your figure is simple and quiet, keep the background simply always. If the character
of the case demands some detail, and a variety of objects, then treat them so that their
effect is as simple as possible; and the figure must be made stronger, in order that the
variety in the background shall not overpower it. Control it by the way the light or the
color masses, or simplify the painting of them. Keep the background in value as regards
prominence and relief of objects as well as in the matter of color.
Composition of Background. - You can make the background help the figure, not
merely by the painting of objects which help to explain, - that is of course, - but in the
placing and arranging of them you may emphasize the composition. Whether the
background be a curtain with its folds, or an interior with its furniture, you can and must
make every object, every fold of the drapery, every mass of wall or object, distinctly help
out in the composition as line and mass. Your composition must balance; the line and
movement of the figure must have its true relation. The way you use whatever goes into
the picture, the objects which make up the background, the way they group, and the
spaces between them, must have a helpful reference to that movement, and to the
balance of the whole.
Simplicity. - Lean always towards simplicity in composition as against complexity.
In backgrounds particularly, avoid detail and over-variety. Don’t have the whole surface
of the canvas spotted with things. If it is necessary, put it in; if it is not necessary, leave it
out; and if there is the slightest doubt which it is, leave it out.
The most common and the most fatal mistake is to make the picture too “interesting.”
The interest in a picture does not lie in the quantity of things expressed, but in the
character of them, and in the quality of their representations.
If you cannot treat a simple composition well, if you cannot make a picture balance well,
and make it interesting with a quiet background, be sure a multitude of objects will not
help it. The more you put into it the worse it will be. Learn to be master of the less before
you try to be master of the more.
Lighting. - I have spoken of lighting in general in other chapters. You must apply the
principles to your use of figures. Study the different effects which you can get on the
model by the different ways of placing in reference to the window. Whatever lighting will
be difficult in one kind of painting will be no less so in another. Avoid cross-lights, and
do not be ambitious to try unusual and exceptional effects. If one should occur to you as
charming, of course do it, if it is not too difficult, but don’t go around hunting for the
strange and weird. There is beauty enough for all occasions in such effects as are
constantly coming under your observation. What was said about simplicity of subject