Prepared canvas 51, 52 Stencil cut-outs 54Priming 42

Texture 36, 55, 97 ff., 100

Reflections 56 Tint 6

Renoir 39 Tobey, Mark 75Retouch varnish 37, 38 Tone 6Reverse perspective 29 Toned canvas 6, 23Roualt, Georges 75 Transfer techniques 54, 100

Transitional tone 56Scale 87, 90 ft. Transparent pigment 82Scumble 32, 33, 102Selecting a theme 7 ft"., 39 ff., 49, 50, Underpainting 23, 43, 98

76 Understatement 75Shade 6 Utrillo 39Simplification 7Simultaneous contrast 34 Value 6Sketching 10 ff., 59 ff., 78, 89 ff. Van Gogh, Vincent 75Soft focus 49, 57 Voids 80Solids and voids 80Soutine, Chaim 75 Wash-in 13, 82Spatter 71, 72 Water-based medium 43, 107

BOSTON PUBLIC LIBRARY

3 9999 01412 1113

Boston Public Library

BRIGHTONBRANCH LIBRARY

The Date Due Card in the pocket indi-

cates the date on or before which this

book should be returned to the Library.

Please do not remove cards from this

pocket.

PAINTINGABSTRACT

LANDSCAPES

Non-painters often think that the term "abstract

art" refers to something dreamed up in the

artist's mind with no relation to nature. Some

modern art, called "inventive" is just that, but

the abstract painter while not copying nature like

a camera, does use an outdoor scene or still-life

arrangement as a starting point for his composi-

tion. In this book, Paul Wood, a professional

painter of many years' experience clarifies the

meaning of abstract art as applied to landscapes.

He demonstrates its relationship to natural realityby leading you step-by-step through the creation

of eleven canvases in eight projects.

Each project begins with a photo of the scene

to be painted and ends with Mr. Wood's treat-

ment in full color. In between are explanatory

text, sketches, and detailed step-by-step photos

of the canvas as it progresses. In these country,

city, waterfront and mountain scenes and the

abstract studies of buildings, bridges, sailboats,

rocks and trees you will find springboards for

your own creative work. The emphasis through-out is on how you can successfully develop ab-stract paintings yourself.

Young people especially will find abstract

landscape work rewarding since less technical

skill is required before beginning painting. Tal-

ents such as imagination, taste, color-sense and

originality are equally valuable for this kind of

art. There is no need to let a lack of academic

training keep you from entering the fascinating

world of creative abstract art.

The experienced painter left unsatisfied with

his representational work will learn to look be-

yond surface prettiness and create beauty in an

abstract oil painting.

STERLING PUBLISHING CO., INC. new YORKThe Oak Tree Press, Ltd., London and Sydney