,,water ,,color ,,renderings ,,of       
,,venice ,by ,,pierre ,,vigna           
,introduction ,by                       
,,william ,,robert ,,powell             
,j4 ,h4 ,,jansen1 ,,publisher           
,,cleveland1 ,o4 #aibe          ,,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 ,marco1 ,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          ,c4   
,l4 ,aiken          ,,pierre ,,vignal   
,,and ,,his ,,technique                 
,illustration3 #ahee-aibe    ,,the      
,,water ,,colors of ,pierre ,vignal rank
 as the foremost in contemporary        
,french art4 ,he uses water color in its
 true sense of being a transparent  and 
not an opaque medium4 ,there is no      

chinese white on his palette4    ,each  
operation in producing a picture is     
final4 ,no washes are gone over  a      
second time4 ,in this way he attains the
 maximum of transparency and  his       
pictures are free from spots or muddy   
and opaque blotches of color4    ,the   
drawing of a subject is carefully done  
with a soft pencil and in a  fine light 
line1 so that it will not show in the   
picture after the color  is applied4    
,drawing is as important in his work as 
color and value4    ,pierre ,vignal has 
so well mastered his art that he can    
visualize the  finished picture1 both as
 to color and value1 before he applies  
any  color4    ,his work is based on the
 principle that the subject should be   
simple1  treated in a broad way and free
 from much detail4 ,the reproductions in
  this portfolio are nearly the exact   
size of the original pictures1 his      
theory being that a water color should  
be small1 as the medium does not  permit
 the covering of as large a surface as  

oil4 ,the interest must be  confined to 
a central point with usually one        
predominant dark and light  value1 each 
being in sharp contrast4    ,in making  
his pictures1 ,m4 ,vignal first applies 
the sky1 which is as  important in value
 as in color4 ,thus the picture is      
started at the top  of the paper and    
finished at the bottom1 as the next     
operation consists  in putting in the   
dominant shadows1 which are usually done
 in one  operation1 and finally the     
highlights and darker values on the     
shadows4  ,when the sky and shadows are 
completed the main values of the picture
  are established1 and the highlights   
being thin and transparent do not       
change the other values4    ,most of the
 color is mixed on the paper as the work
 progresses and not  on the palette1    
thus a pleasing transparent change and  
variety of color  is obtained which can 
be seen by a study of the shadows and   
highlights  in the plates4    ,some of  
the color is applied rather dry1 some of

 it very wet and again  the surface of  
the paper is moistened and the color is 
put on and  allowed to spread through   
this moist surface to produce varied    
effects  and contrasts4 ,to quote from  
,leopold ,honore in the ,journal des    
,artistes3    8,whether his water colors
 are of ,italy1 ,the ,villa ,d',este1   
,granada1  ,morocco1 ,nimes1 ,avignon or
 ,paris1 they are always out-of-doors1  
full of  truth1 light and sunshine and  
real fascination of color4 ,one feels   
and  sees that everything is painted    
with masterly skill1 without a          
discordant note4 ,everything is in a    
vibrating note1 but always remaining    
harmonious40    7,original ,preface7    
,,william ,,robert ,,powell             
,former ,pupil of ,pierre ,vignal       
,,portfolios ,,of ,,water ,,color       
,,renderings ,,by ,,pierre ,,vignal     
,venice 7,out of ,print7      ,gardens  
of ,rome      ,northern ,italian ,cities
      ,palestine      ,naples           
,illustration3 ,,venice--,,ponte ,,del  

,,paradiso    ,illustration3            
,,venice--,a ,rio    ,illustration3     
,,venice--,,verocchio ,,bartolomeo      
,,colleoni    ,illustration3            
,,venice--,,the ,,rialto                
,illustration3 ,,venice--,,the          
,,piazzetta    ,illustration3           
,,venice--,,piazza ,,san ,,marco        
,illustration3 ,,venice--,,the ,,clock  
,,tower    ,illustration3               
,,venice--,,entrance ,,to ,,the ,,palace
    ,illustration3 ,,venice--,a ,,street
    ,illustration3 ,,venice--,,san      
,,marco ,a ,,doorway    ,illustration3  
,,venice--,,entrance ,,to ,,the ,,ducal 
,,palace    ,illustration3              
,,venice--,,canal ,,of ,,the ,,church   
,,of ,,the ,,madonna ,,dei ,,miracoli   
,illustration3 ,,venice--,,san ,,rocco  
,illustration3 ,,venice--,,san ,,giorgio
 ,,from ,,the ,,giudecca                
,illustration3 ,,venice--,,riva ,,degli 
,,schiavoni