The text discusses techniques for accurately representing trees in drawing. It emphasizes the importance of observing nature closely and avoiding the mistake of using the same leaf stroke for all tree types. The author also highlights the need to forget previously learned techniques when drawing from nature to achieve precision.
Drawing.
From afar, when it is not of good growth, and the leaves are small, it is not the same as with oaks growing in rich soil; then the leaves are large and hang towards the ground, like the large linden tree, chestnut, plane tree, etc. However, it is pleasant to mix this serrated touch of Berghem with the stroke of the great Masters when it is in place and helps represent the variety of different tree characteristics.
One of the greatest flaws of landscape artists is that once they adopt a stroke of leaves that seems good, they use it to represent all sorts of trees.
This is because they don't copy nature with enough accuracy; for although it is good to start by imitating the touch of different Masters, when one comes to study nature, one must completely forget everything learned and that which was copied only to acquire ease, and only then strive to imitate exactly what is seen. To copy nature accurately, and yet without doing so slavishly, one must observe it with great attention and reflection, then work quickly with the hand.
Each species of tree has a particular way of casting its branches, and its leaf clusters have a form unique to it. To imprint well in memory these forms of leaf clusters, one must outline the trees from far away, and at such a great distance that the leaves can no longer be distinguished, and above all, take care of the last branches, where the leaves detach lightly against the sky.
Regarding the particular character of each tree, the