The morning call., 1890-09-28
THE PAINTING
OF THE ROSE.
f" A Tube of Yellow Paint and
Brush to Paint q Rosebud.
Advice to Those Who Are Learning to Paint
Flowers-Aspirations to Reproduce the
Most Complex Flowers.

r L
dAg infreauently undertake the most diff
10y fcult subjects Ignorant of the
methods employed to represent successfully,
or even toierably, the simplest single bios.
som they aspire to paint the most complex
flowers, and often collection Of them
that would tax the skill Of experienced
hands. The girl who wanted "a tube OF
yellow paint and one brush to paint a
simple rosebud we have always with
US. Result, innumerabe squares of good
canvas and tubes of paint worse than
wasted; innumeIable pictures ~ represent
ing roses that appear to be carved out OF
turnips, hydrange as that resemble basebals
and lilacs that look like pyramids of violet
ice-eream, to say nothing of the hosts OF dis
gruntled, would-be artists aud other hosts
who are sef-satisfied but nevertheless are
the targets of ridcule from helpless look
ers-0n.
1t would seem that with the advice and
suggestions so freely offered on this subject,
lie who runs may read, that there is little
excuse for this sorry state of affairs in the
dabbling world! But the fact, nevertheless,
remains. With the view of helping those
who wish to help themselves in this direc-
ton, a writer for the Philadelphia Record
has gathered together some suggestions on
the representation of that most difficult OF
all flowers to depict-the rose. Double flow
ers of all SORTS require very much the same,
and when the artist can do full justice 10 the
rose he may fearleSSly undertake any Hover
that grows.
Some restriction, however, must be placed
upon first attempts at roses. Choose for
beginning a full-blown rose that exposes Its
stamens. This will not change as will
hall blown rose or bud, the unfolding Of the
tat- i.h mill hn ttyn1t tn
barraSs and confuse the student who has
not had considerable experience. Tightly
closed buds do not change rapidly, neither
do they give the practice sought, being as
easily rendered as leaves and stems.
The beginner is advised to begin with one
or two specimens, say the tlesh-pink Cath
arine Mermets. Lay these on horizontal
surface where they will get strong light
and plenty Of shade. MIR. Gaskin advises
that first
SOME CONSISTENT BACKGROUND
Tnts should be thrown in, roughly ipdicat-
ing the form of the flower and giving it re-
lief. If this tint encroaches somewhat upon
the outlines which the roses and leaves are
to assume so much the better-greater soft
ness will be insured, but it must be so thin
that there will be little to be taken up by
the rose tints. Gray that partakes of olive
is coed general color for background for
pink roses, and may enter into both the horl-
Zontal one, however, being somewhat yell
lowed TO bring it forward.
When the contour of the roses is indicated
take gOod-SiZed bristle brush and go over
their entire surface with rose madden. care
fully observing the outlines formed by the
outer petals. This color will be darker than
the general local color and paler than the
deep parts between the petals. Deepening
the latter is the next step. and may be done
with additional rose madden. II very dark
use burnt sienna and brown madden. These
deep markings will do much toward Separat-
ing The petals. Now take bit of cloth and
remove the rose madden from places where
the high light falls, and from any portion OF
the center which shows tine yellow of the sta
mems. Next mix enough Naples yellow to-
gether with white to make it creamy and work
it into the rose madden wherever this is to
be paled for local color. The high lights
are next put in with whatever strength they
require. Blue-black may be used to qualify
them, and also TO indicate the shadows cast
by the petals upon each other. Next the
gray tones must be looked after. Terre
verte worked into the rose madden Will give
the tint required. More or less pale lemon
will be found about centers that show.
Where the center is in shadow burnt lumber
may be used, instead of black, with good
effect. Ii stamens appear they viii require
cadmium, shaded with raw lumber and raw
sienna.
Treat the leaves with freedom, n ot notched
and veined, but the veins being suggested by
deft touches OF light and shade. Ii is not
amiss to aptly suggest details, but the entire
work must be treated as whole.
THE DEEP-RED ROSES,
Such as Jacqueminots, may be treated on
the same plan, making the first general
coloring of rose madden laid on heavier
Make the deep markings between the petals
with brown madden and bone brown. Where
petals appear very bright, geranium lake
may be used. and sometimes a very little
Chinese vrrmilion. High lights and gray
tints are produced the same way as in pink
roses Be careful not to work the bright
tints of deep-red roses too much, because
thereby its brightness and erispness is de-
stroyed. Lights and gray TOMS must not be
carried into parts that want transparency,
but the gray tones must be brought into
close juxtaposition with the brilliant color
in order to show it to advantage.
Yellow and canary-cOlored roses are also
painted on the same plan, very thin Indian
yellow being used for the first general color
ing. Neutral tint will produce gray when
laid upon yellow. Umbers and browns are
used in shadows where black would produce
too much green.
The method of painting white roses differs
in that the first color laid on, which mus, of
course be of the tint indicated in the flower,
must not extend upon that part of the
petals which is to appear VIII tie. This tint
may be blush or blush or greenish. After
the center tinting proceed to the shadows.
These will develop the roses. for the un-
touched parts of the canvas will represent
the white of the petals. When the effect
promises all that is desired the opaque
lights may be laid on-puie white or what
ever delicate tint is desired. Tender grays
are now ir.yoduced TO bring all into har-
mony, and perhaps sharp touches of light
are to be given in finishing
Be satisfied to work at blown roses
until they can be pretty faithfully rendered
before attempting the chaugeful half-b blown
buds. When such excellence is reached the
student may with assurance undertake open
ing buds. Their gradual unfolding will not
confuse or embarrass the worker, but il
they are undertaken without considerable
preliminary practice there is little chance of
success.