---

WATER COLOR
RENDERINGS
OF VENICE
By
PIERRE VIGNA

Introduction By

WILLIAM ROBERT POWELL


J. H. JANSEN, PUBLISHER
CLEVELAND, O.
1925

LIST OF PLATES

Ponte del Paradise

A Rio

Colleone

The Rialto

The Piazetta

Piazza San Marco

The Clock Tower

Entrance to the Palace

A Street

San Marco, A Doorway

Entrance to the Ducal Palace

Canal of the Church of The Madonna de Miracoli

San Rocco

San Giorgio from the Giudecca

Riva Degli Schiavoni

Cover and Tide Page Designed by
C. L. Aiken

PIERRE VIGNAL AND HIS TECHNIQUE

The Water Colors of Pierre Vignal rank as the foremost in contemporaryFrench art. He uses water color in its true sense of being a transparentand not an opaque medium. There is no chinese white on his palette.

Each operation in producing a picture is final. No washes are gone overa second time. In this way he attains the maximum of transparency andhis pictures are free from spots or muddy and opaque blotches of color.

The drawing of a subject is carefully done with a soft pencil and in afine light line, so that it will not show in the picture after the coloris applied. Drawing is as important in his work as color and value.

Pierre Vignal has so well mastered his art that he can visualize thefinished picture, both as to color and value, before he applies anycolor.

His work is based on the principle that the subject should be simple,treated in a broad way and free from much detail. The reproductions inthis portfolio are nearly the exact size of the original pictures, histheory being that a water color should be small, as the medium does notpermit the covering of as large a surface as oil. The interest must beconfined to a central point with usually one predominant dark and lightvalue, each being in sharp contrast.

In making his pictures, M. Vignal first applies the sky, which is asimpo

BU KİTABI OKUMAK İÇİN ÜYE OLUN VEYA GİRİŞ YAPIN!

Sitemize Üyelik ÜCRETSİZDİR!