Text extracted from opening pages of book: CHINA PATNT1NG A
Practical Manual For the Use of Amateurs in the Decoration of Hard
Porcelain By M, LOUISE MCLAUGHLIN. NEW EDITION. TWENTY-FlfcST
THOUSAND, CINCINNATI: THE ROBERT CLARKE COMPANY. 1911. Copyright
1877, 1883, 1894. 1904, BY M. LOUISE McLAUGHLIN. Copyright STEWART
& KID'D CO. CONTENTS. PAGE INTRODUCTION, v CHAP, i Preparing
the Design, ... 9 2 General Directions for Painting, , 12 3
Composition of Palettes for various Styles of Painting, .... 20 4
Tinted Grounds, 44 5 Mat Colors, ..... 52 6 Other Pigments and
Mediums . . 59 7 Burnishing, ..... 64 8 Paste for Raised Gold, ...
68 9 General Remarks on Decoration, . 73 10 The Importance of
Drawing, . . 81 ii Technique, . 86 12 Designs, 92 13 Lessons to be
derived from Japanese Art, 100 14 Preparing Gold and Silver for the
Decora tion of Porcelain, . . . 105 15 Use of Metallic Paints upon
Porcelain, 112 1 6 Lettering, 119 17 Use of Relief Colors, . . .
125 18 Firing, ....*. 132 Success depends on knowing how to be
patient ', how to endure drudgery, how to unmake and remake, Jww to
recom mence and continue without allowing the tide of anger or the
flight of the imagination to arrest or divert the daily effort. H.
TAINE. The art of painting on china is certainly a beautiful one,
and is, perhaps, peculiarly fitted to be an agreeable pastime for
persons of leisure. There is, however, too general a tendency to
consider it simply in the light of an amusement, ur worthy of
serious study, and an art for the practice of which no special
training or knowl edge is necessary. Now, what is worth doing at
all is worth doing well, and the idea that one can successfully
prac tice any branch of artwithout having previously learned to
draw is false. The eye and hand must be trained, and the taste
cultivated, before any result worthy of the name can be achieved.
The best foundation for any art-work is a INTRODUCTION. thorough
knowledge of drawing; and the time tpcnt in acquiring such
knowledge will never be regretted* It is true that there are
methods of decorating china with simple designs, which may be
accomplished by those unskilled in the use of the pencil or brush;
yet, as the hand of the master is revealed in the most careless
sketch, so the want of skill or freedom of touch is apparent in the
treatment of the simplest subject. To those who have the time and
patience, as well as the natural ability to learn to draw, we would
say: Make it your first business to ac quire that knowledge.
Cultivate your taste by study of the best models; - educate the eye
to perceive beautiful forms in nature or art, and tite hand to
transcribe them. Painting on china, may not offer the same fa
ditties for the truthful rendering of nature as oil or water-color
painting, but it has other com pensating advantages in the beauty
of the enamel; tad the enduring qualities of the pigments, when
fixed by the fire. With the present greatly increased facilities
INTRODUCTION. Vll afforded by the improvements in the manufac ture
of colors, china painting should regain something of its former
prestige among the arts In other times the greatest artists
exercised their art upon this material, which, seemingly so frail,
has preserved their work unharmed for ages, A revival of the art,
however, can not be ex* pected from a servile copying of the old
designs and methods. As well might the artists of the modernschool
have expected to arrive at their present knowledge of technique by
copying the pictures of Durer or Van Eyck. There will be no true
revival of any branch of art unless founded upon study of nature
and the adaptation of her principles to design, and there will
likewise be no advance possible to the individual art student
without this study and practice. This study brings with it its own
reward in the cultivation of what has been called the artistic
sense, which, in the words of Thackeray, reveals * c splendors of
nature, to vulgar sights invisible, and beauti
General
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