With Practical Suggestions For Drawing And Painting Them

The beginner will find that the chrysanthemum presents no slight difficulties both in regard to drawing and perspective; but these having been overcome, if one is so fortunate as to have a good sense of colour, it will be found that this splendid flower may be painted with wonderfully decorative effect. The double-ness of the chrysanthemum is different from that of the rose and the double poppy. Its petals are so ribbon-like that they cannot well be treated as we have suggested for clustered blossoms. The flower belongs to the same type as the garden aster, treated last month, and the double dahlia.

Such a variety of colours has been evolved in the cultivation of the chrysanthemum in England, and some of them are so gorgeous, that in the selection of our models we must be careful to avoid a discord. The white and pink harmonize, and some of the latter, by agreeable gradations of mauves and kindred lints, accord well with the deep Magenta reds; but beware of introducing into such a combination a terra-cotta red. The white flowers are beautiful alone if the accessories are suitable. The warm pinks and the warm reds go well together, and the warm reds with the yellow. The yellow flowers go well with nearly all the reds alone.

In Oil Colours: Draw in with burnt sienna and turpentine the general effect of the composition in light and shade; secure also the outlines of the petals, leaves and stems, using a finely-pointed sable brush. Use with the colours only a little pure turpentine, so as to assure their drying quickly.

White Chrysanthemums are, strictly speaking, of two varieties - the pure white and the creamy white; when placed together the difference in the quality of their whiteness is seen immediately. The pure white are devoid of the least tinge of colour. They may be painted as follows. For the general tone of the light masses: with white mixed with a very little pale cadmium, a very little vermilion, and the merest touch of ivory black; for the darker tones deepen this tint.

The high lights are put in with pure white, qualified by a very little of the general tone. The shadows are painted with a little white, yellow ochre, rose madder, and ivory black. In the half-tints, use with these colours a little cobalt and some burnt sienna in the deeper touches. Very little or no white is needed here. Where the centres are a very warm yellow, mix cadmium, white, a little madder lake, and a little raw umber. A very little ivory black is added in the greyer parts. Soft bluish half-tints are made with cobalt, light red, yellow ochre, and white.

We begin by massing the lights and shadows, mixing the colours as just named "for the general tone "; for the light parts, deepening this general tone, if the flower is in a subdued or half light, or using more white if the flower is brilliantly lighted. where the pure white is tinged with a little yellow, the same colours are used, with the addition of a little deep cadmium in the local tone; and if the centres have a greenish cast, a very little cobalt may be mixed with the yellow ochre.

Occasionally white chrysanthemums are tinted with the faintest suggestion of pink or violet, while still to be classified as white (lowers. In such case we simply add a little more rose madder or cobalt, or both, to the local tone, and this will give the requisite hint of a dominant colour. After the colour is all laid in, and the lights and shadows having been massed, put in the highest lights with a small, flat, pointed sable brush, and carefully draw with the point of the brush the outlines of the petals in shadow.