Page:The practice of water-colour painting (IA cu31924014501971).pdf/210

destroying the definition of his under work, and by which he can soften and bring together his tones and modellings. He is always very careful to preserve the cleanness and crispness of the outlines, especially where they are relieved against a dark background, but by studious observation of the tones which suggest the roundness of the figure he prevents this crispness from degenerating into hardness. In fact, there is in all his work plain proof that he has not only a thoroughly practical understanding of the method he employs but also an intimate knowledge of the more subtle refinements of expression by which exactness of statement can be kept from becoming tediously obvious.

But, after all, his possession of this knowledge is the natural consequence of the close study that he has given to the practice of his art. Convinced as he is of the need for serious preparation to prevent the artist's facility from being hampered by insufficient acquaintance with fact, he has a not less firm conviction that the bald presentation of fact does not make for artistic beauty or for graceful suggestion. That his picture should have all