DRAWING
ers. Nevertheless nothing, in my opinion, could be less intelligent than the above suggestion. For the student who aims to go far in art the golden rule is, one thing at a time.
If you consider for a moment, you will perceive that painting the figure in the open involves a simultaneous attack on nearly every problem in the wide domain of art. You have first of all the out-door questions of atmospheric vibration and refraction, and the consideration of the color-scale and value-scale; then, in addition to these, you have practically all the in-door problems, which include figure-composition and arrangement, in addition to the usual problems of drawing and modelling—the latter presented in a reversed and unfamiliar form, owing to the new and unexpected color-reflections from the sky and the surround-
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