which is not needed to that completeness. This too is the truth about “breadth,” that
much misunderstood word. Breadth is not merely breadth of a brush stroke. It is
breadth of idea, breadth of perception; the power of conceiving the picture as a whole,
and the power of not putting in any details which will interfere with the unity of effect.
Intent. - In this connection it would be well to bear in mind the purpose of the work on
which the painter may be engaged. A man would, and should, work very differently on
canvases intended for a study, a sketch, and a picture. The study would contain many
things which the other two would not need. It is the work in which and by which the
painter informs himself. It is his way of acquiring facts, or of assuring himself of what he
wants and how he wants it.
Any he may put into it all sorts of things for their value is facts which he may never care
to use, but which he wishes to have at command in case he should want them.
The sketch, on the other hand, is a not of an effect merely, or of a general idea, and
calls for only those qualities which most successfully show the central idea, which might
sometime become a picture, or which suggests a scheme. A carefully worked-up sketch is
a contradiction in terms, just as a careless study would be.
A picture might have more or less of the character of either of these two types, and yet
belong to neither. It might have the sketch as its motive, and would use as much or as
little of the material of the study as should be needed to make the result express exactly
the idea the painter wishes to impart, and no more and no less.
All these things should be borne in mind, as you study the characteristics of paintings
to learn what they can mean to you beyond the surface which is obvious to anyone; or as
you work on your own canvas to attain such power or proficiency, such cleverness or
facility, as you may conclude it is worth your while to try.