Yesterday we looked at highly detailed, leaf-by-leaf renderings of foliage.
At the other extreme
is the super-soft approach, as exemplified here by Camille Corot (1796-1875). Each big area of the picture blends into its neighbor. The hard edges are reserved for a few branches, the figures and the distant house.
George Inness (1825-1894) uses softness to convey a spiritual, otherworldly feeling, as well as a sense of atmosphere. To Inness, this softness and simplification was not a technical trick or a gimmick. It was a genuine expression of his own mystical relationship with the natural world. He said, "The poetic quality is not obtained by eschewing any truths of fact or of Nature...Poetry is the vision of reality."
Emilio Sanchez-Perrier (1855-1907) keeps his masses soft as well, but adds just enough edge detail so that it feels like a complete statement. Perrier is always very careful not to let his extreme darks near the edge of the foliage mass, but instead reserves the dark values for the lower core of the tree.
Tyrus Wong (born 1910, and still alive at age 101) was one of the designers of the Disney animated film Bambi. His luminous pastels helped give the film a soft, dreamy look. When he joined the production, Mr. Wong looked at what had been done so far and said, "Too much detail! I tried to keep the thing very, very simple and create the atmosphere, the feeling of the forest."
It would have been a very different film had they followed some of the more detailed conceptions. This one is attributed to
Gustaf Tenngren (1896-1970).
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Book:
Walt Disney's Bambi: The Story and the Film
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