The Painter in oil

be used in completing the picture.
But more commonly the ébouch is the first blocking-in painting of the picture, by
means of which the greater masses of color and value are laid onto the canvas, somewhat
rudely, but strongly, so as to give a strong, firm impression of the picture, and a solid
under-painting on which future work may be done. Whether this ébouch is rough or
smooth, just how much of it will be body or solid color and how much transparent, just
what degree of finish this painting will have, - these depend on the man who does it. No
two men work precisely the same way.
Some men make what is practically a large and very complete sketch. Some paint quite
smoothly or frankly, with more or less of an effect of being finished as they go, working
from one side of the picture gradually across the whole canvas. Others work a bit here
and a bit there, and fill in between as they feel inclined.
Another way is to patch in little spots of rather pure color, so that the ébouch looks
like a sort of mosaic of paint.
In the matter of color, too, there is great difference of method. Some men lay in
picture with stronger color than they intend the finished picture to have, and gray it and
bring it together with after-painting. Others go to the other extreme, in paint grayer and
lighter, depending on glazings and full touches of color later on to richen and deepen the
color. All the way between these two are modifications of method. The main difference
between these extremes is that when stronger color is used in the painting, the process is
to paint with solid color all through; while if glazings are to be much used, the ébouch
must be lighter and quieter in color to allow for the results of after painting. For you
cannot glaze up. You can always glaze down. The glaze being a transparent color, used
without white, will naturally make the color under it more brilliant in color, but darker
in value, just as it would if you laid a piece of colored glass over it. And this result must
be calculated on beforehand.
Which of all these methods is best to use depends altogether on which best suits the
man and his purpose in the picture or his temperament. A rough ébouch will not make a
smooth picture. A mosaic gives a pure, clear basis of color to gray down and work over,
and may be scraped for a good surface. It is a deliberate method, and will be successful
only with a thoughtful, deliberate painter. If a man is a timid colorist, a strong, even
crude, under-painting will help to strengthen his color. A good colorist will get color any
way. For a student, the more directly he puts down what he sees, the less he calculates
on the effect of future after-painting, the better.
But whichever way a man works as to these various beginnings, the chief thing is, that
he understands beforehand what are the peculiar advantages and qualities of each, and
that he consider before he begins what he expects to do, and how he purposes to do it.
Further Painting. - The first painting may be put in from nature with the help of the
several models in succession. More probably it will be put in from the color sketch which
furnishes the general detail scheme, and from a number of studies and ébouches which
will give the principal material for each part of the canvas. With the next painting comes
the more exact study from models and accessories themselves. The under-painting is in,
the color relations and the contrast of masses, but all is more or less crude and
undeveloped. Every one thing in the picture must be gradually brought to a further stage
of completion. The background is not as yet to be carried father as a whole. If the canvas