DRAWING FOR
ART
STUDENTS
ILLUSTRATORS
AND
BY
W.
ALLEN
SEABY
LONDON B.
T.
BATSFORD,
LTD.,
:
94,
HIGH
HOLBORN.
PRINTED
BY
"
HIGHAM
JOHN
HYDE,
MANCHESTER.
COY.
LTD,
PREFACE.
the
In
students,
ruthlessly
first
place
past
and
than
rather
shining I
Next
I
in
untidy
yery
for
Hartrick,
R.W.S.,
life
Paris
for
R.E.,
Dorothy
which
H.
Mr.
Edith
(figs.
only
21
18,
28
and
a),
Mr.
Miss
for intended
to
serve
two
44),
and C.
and
S.
A.
Lumsden, Miss
Pearce
C.
Forbes
Agnes
drawings
various
a
Pearce, Mr.
S.
E.
Mr.
(fig. 43),
Hampton
C.
reproduce
(figs. 31
as
reading
thank
to
25A),
and
i6
for
also me
I
teaching,
C.
Mr.
I must
my
whom
to
line.
Morley
and
drawings
students
are
will, I
to
his
expressive
allowing
(figs.
Johnston
other
and
Prof.
several
(fig. 12),
of
use
for
for
especially
suggestions.
studies
so
examples
Fletcher,
Morley
manuscript,
A.R.B.A.,
horrid
as
my
have
I
They
purpose. up
to
acknowledgments
F.
the
thank
to
apologies failings
them
my
and
art,
it, of
have
own
holding
Mr.
friend,
I understand
whose
my
tender
everything
owe
humble
lights.
must
and
master
for
for
me
offer
must
present,
exploited
pardon
trust,
I
sketches
indications
as
of
method. thanks
My of
the
Mr.
W. The
diagrams
Holbein
the and
authorities,
line with
blocks, no
as
pretence
John for
Castle,
B.
W. to
consent
Hon
the
to
drawings, Mr.
to
Coats'
A.
due Windsor
Library,
Royal
reproduce
also
are
use
be
can
to
to
the
Paterson, his seen,
permission
British who
Crawhall are
Fortescue,
mere
draughtsmanship.
to
Museum obtained
drawing. scribbled
Lastly,
in
necessarily this
know,
is
not
be
a
certain
matters
for need
this
as
of
amount
bad
altogether
important
planned
book
a
the
;
than
A.
College,
University Reading.
April,
192
1.
there
repetition.
student
more
is,
as
one
W.
must
Perhaps all
teachers
telling. SEABY.
CONTENTS.
XX.
DRAWING
AS
A
PREPARATION
FOR
PAINTING
XXI.
XXII.
XXIII.
140
CONVENTION
151
DRAWING
THE
FOR
DRAWINGS
161
ILLUSTRATORS
OF
THE
MASTERS
i66
CHAPTER
I.
INTRODUCTION.
In
these the of
shape
the
with
that
long
no
there
is
a
the
upon
call
it
road
not
counter
of
art
himself
putting
teaching,
for
a
to
fee
him to
show,
one
teacher's
his
in
regarding
ready
be
from
as
cut
off
say,
one
a
small
how
Ingres, faculty,
or
of
a
searched
the
hands
tricks
by rather
student
with
fidence, con-
behind
standing snip
but
and for
whom
mere
"tips,"
training,
severe
insist
classical
the
trick,
series
that
to
power
a
It must
learned
and
Velasquez,
as
all, by
at
every
implication
the
conjuring
a
effort. and
up,
not
to
in
technical
learned
be if
visual
picked
trusts,
to
is
teaching
necessary
Holbein,
in
sees
necessary,
it becomes
This
will,
we
with
the and
one
draughtsmanship by
acquired,
intellectual than
of
when
employment
is
in
poster
correspondence
study
cerning con-
future,
near
etc.,
course,"
art
art,
Degas.
what
be
to
understood
sleight-of-hand must
in
importance
and
Menzel,
of
the
made
are
designing,
remunerative
training
royal
as
sense,
of
"completes
who
the
costume
campaign
great
promise
student
in
illustration,
work, a
prophecies
required and
pattern
press
daily
work
art
advertisement the
when
days,
of with
the a
a
fabric water
DRAWING
2
colour
brush
When
the
FOR
student
has
of art, he
refinements
of
who
a
charlatan, the
he
how
arrived
pretty face.
some
measure
of the all the
into his service
will press
he
dodges and
acquire from
can
The
manipulative processes
study, and
a
as
is made
attempt
an
emphasize the importance of a student-like of mind, and a wise docility in carrying out in themselves
draughtsman
attitude
readers
cavil
emotional
such
at
side
of art
is
rightlyso, yet it is all shall be absolutelythe possess
and
well
the souls
term
a
insisted
the
and
upon,
that the
necessary
more
artist
of his instrument, if he
master
in
if
"tasks," for though
as
of his listeners.
study is necessary
not
should
Nor
equipped.
now-a-days
the
tasks
interesting,but necessary
very
is to be
them
in
to
perhaps
with
concerned
followingchapters,therefore,are
drawing
to
more
command.
can
the
any
is the
that, he
him, but without
more
a
draw
to
at
technique which
teach
can
STUDENTS.
performed, or
are
knowledge one
ART
And
if this
music, still more
is it in
is
striving pictorial
art.
On
the
other
proceed without notion
still
students
But
a
further or
If the
the
the
active
when
be
made the
interest
loses
particular drawing work
will resolve
stippling,mere study has been
drawing
of the is
a
itself into
The
discipline,that they do and
its interest
is better
cannot
pupil.
'do it because
to
eye
of
study
lingersthat drawing
should
like it.
hand
laid
not
acity, pertin-
aside,
for
ing tinkering,embroider-
occupation without observation. made on right lines, if placing,
and proportion, movement grappled with, the drawing
construction has
earned
its
have
place
been in
the
INTRODUCTION.
3
Stairwayof art study, for it has raised the student a step above his previous attempts. A real responsibility rests on
the student, who
he
take
can
much
him
to
drawing; this
some
shut
who
searched
teacher
art
and
far do
can
example.
even
to
himself
his powers his
how
recognise the necessity of of observation and expressionin any artists have only forced themselves slow
long after their school
Degas,
the
by exhortation
Many students are testingtheir powers one
for himself
ascertain
drawing, though
a
help
to
should
days
were
for
up
of observation
exquisitelyfinished
two to
as
over,
witness
while
years
the utmost
picturesof
he
in producing
Paris
street
life. After to
the
some
writer
experience of teaching drawing it that
certain
essentials
of
study,
not
seems
only
ment drawing, but in all art are : (i)the developof proportion,and of the sense by this is meant ing than getting one's measurements more right,but a feelfor good proportions,such as is generally admitted innate in the Italians to a higher degree than in the was lies at hand, for the northern peoples, and the reason
perhaps
former
in
never
while
formed
their
"
lost touch the
with
the
architecture
environment,
of portion, prosculpture,which
classic and
showed
canons
them
proportion
(2) Hardly less important is the qualityof of being oneself, of not apeing another's style. sincerity, Art Students, from their very temperament, are quickly embodied.
impressed,not least by the work of the cleverer students. of of their master Later or on they follow the manner in this up There harm artists they admire. is not much built indeed art tradition has been to a certain point,and
DRAWING
4
in
up with
such
some
character
work
and
follow
to
this
for
and
As
for
teacher
not
after,the work
years
that
and
elusive
students
to
things his
of
which
is
consciously. few,
a
pupil is
what
extent
a
From
way.
work,
to
quality. But
in his
himself
and
of his calculations, former
a
own
for
only
comes
student
the
showing
art
be striven
it out
rare
some
hand
other
quality in
a
to
leave
to
do
to
"style,"that
has
the
others, will feel within
his bent,
spontaneous,
STUDENTS.
while individuality,
character,
comes
ART
On
way.
admiration
wish
FOR
if
happy
to
seen
possess one's show
can
one
art
an
in
style means
drawing;
the
rhythmical line of Botticelli,Ingres and the Oriental the veracity and masters, clarity of Holbein, the
drawing
structural
Certainly every drawings by
school
masters,
frighten students, but
to
of Durer, to
or
only
name
should
have
instil into their minds
the
of
in order
not
they should
that
masters.
reproductions
early and modern, even
few
a
them,
copy
qualitiesthat
to
the
best
drawings possess. The better at
has
student
should
the actual still,
Oxford
and
study such He
will
rhythm peculiarto himself, rhythm, such as the marshalling of in
pyramidal or
group,
or a
Hundred wave-like
effort
to
line
in the
Japanese masters;
but
him
by by
print, with
similarly conscious
which his
we
a
as
seen
sub-conscious
know
the artist
handwriting.
The
master
conscious as
masses
to
of
accent,
all
a
leading
calligraphicflow or
the
Guilder
forms,
only
or
Museum,
that each
see
not
a
Rembrandt's
British
in the
drawings
elsewhere.
reproductions,
we
see
their
the central achieve
Chinese
a
and
rhythmical stroke as
we
ample
might curves
nise recogof
INTRODUCTION.
Rubens,
the sweet
rhythm
of
be
as
this
rhythmical
he
or
mannered
of
movement
the student
should
acquire not
may
drawings,
of
forms
cut
square
in his brush
seen
taught, and
for it,
of Guercino, the staccato
flowing line Fragonard, the
Rembrandt, But
S
examples.
are
the
hand
cannot
consciouslystrive rhythm, but merely a not
touch.
but Composition has been dealt with incidentally, this is a subjectwhich full treatment, while the demands In with how to draw. following chaptersare concerned position practice,however, the two are interwoven, and as comcomprehends all the subjects of art study it stands easily first, and should be given a corresponding
positionin Too
curriculum.
art
any
long has
the
imitation, whereas involves for
attention
it fixes the
the movement have It
to
;
do
concerned
teaching been
art
first stroke
the
dimensions, determines much
so
with
imitation
through composition and well enough, while the student
mainly
but copy The the
opening
writer
advocate
happens
is
the
that he
it be
road, that ideas
drawing
studies
art
subjects will does nothing
allied who
of his art.
those
in
that
show
authority
who
effort
as
against slick sketching.
had
to
deal
has
from
with
abroad,
art
students
and
of but
It
from few
they had been put upon the right proportion,of construction, and of
that of
of
side
Britain, and said
who
of this introduction
sentences
on
kernel
the very
sustained
all parts of could
miss
may
a
composition.
as
might be put this way, that the student
draw
paper
placing and
the first steps of
in other words
not
of
sheet
a
mere
things. It implies a choice,
other
to
on
with
DRAWING
6
had
movement
he
of
called
how
to
inculcated.
This
medals
which
in the own
is
serious
the
end, for students of
work
course
and
will
plainest speaking
only
his
what
sort
great
part of the truth lies in this,that the teacher
of
of
more
anxious
for the
that
student A
steps. may
lose
a
"pulled
out
to
dodges
appear
successful should
the
learning and
better
received.
than
of
Perhaps
the
be
because
tinkered
draw
it is.
wrong
into
during
badly, for
to
shape,
the attach
making
a
more
work
for the student's
be
fire," yet
of
a
be
may
pupil,
of the
completion
contrivances than
clearly enough
proceed by logical and
may
to
shows
have
abandoned
drawing of
work
drawing
medal, but it may
a
is
the
study
for while
student
their
teaching they
thinking the
but
the
"good" drawing
from
pupils,
their
in
free.
command
can
of
cruelty
is
that
seeing
them
of
kindness
wrapped
so
of
way
shake
teacher
no
often
are
draw,
number
faithfulness
criticize with
to
his
hand, tricky
The
right.
matter
been
brilliant
no
the other
on
or,
to
more
and
matter,
ing, draw-
by
taught
the
to
what
not
shows
been
not
force
equal
a
put
fears
manner
Of
has
for overworked, will
drawings,
he
ing teach-
a
stages, have
student
the
that
with
applies
students.
heart
often
the
about
set
to
the successive
out
attempts
this
^how
"
that
clearness, that
in
wanting
them, and
upon
conclusion
the
to
rudiments
Too
muddling
gold
the
carry
STUDENTS.
ART
steadfastlypressed
is often
drawing
be
and
been
reluctantlycome
has
may
FOR
than
artistic method
welfare, may
process
be the
importance bad
drawing
CHAPTER
THE
For
good
BIAS
apprenticeship science of
judged
fresh
of
lease
life
Impressionists fetters
yet
That is
is
necessarily
art
student
who
has
which
by an
it of
the
infant's
evidently the
brightly
eye
eyes
notices and
coloured
one
here
visual a
head.
objects
A
as
a
Post-
perspective
Art
the
in
at
and
by
later to
the
order
to
experience it be
as
Shortly
marked
street
in In
far
the
once
appearances
as
presented
School
the
in
brother
reality
little
the
the
sensations.
light
its
gave
as
used.
observe
may
is
as
and
his
between
study
art.
for
is
term
that
as
or
form
with
the
tion representa-
standards,
appearances,
contempt
relation
the
of
study
company
the
the
it, riveted
upon
absolute
an
establish
gained
based
parts
in
sense
the
say,
practical
erroneous
subject,
an
When
field
same
pictorial
on
from
and
eye
the
put
firmly
to
the
human
to
would
more
reflections
by
gave
workshop.
or
Photography,
perspective,
perspective
distinct
as
studio
occupies
Drawing.
of
study,
art
include it
VISION.
invention
the
to
shadows,
call
we
to
in
is held
OF
ill the
or
impetus
enormous
II.
ible poss-
after
the
it
tries
it
(as
birth
movement to
the
reach
saying
FOR
DRAWING
8
ART
is, it cries for the moon), and tentative in
uncertain
and
If with
from
one
table, the
the
for difficulty, the
exact
small will
adult
with
this
distance
the
how
it has difficulty positionof the object. objects are picked up
the exact
closed
eye
will note
the observer
its efforts,the
are
reaching with its hand
STUDENTS.
it is not
handicap hand
infant's
appreciate the
has
travel
to
estimate
to
easy
to
the
grasp
object. The
child has
continue
its
investigations. It hurts itself by knocking against objects,or falling them, until by dint of practiceand sad experience it over has become called what be at a quite early age may "distance perfect." It has learned to look into space as
the
the
measuring preservation of life,and
waking
our
things the actual Hence
caused
for
are more
knowledge From
moments.
Hence
drawings, nearer
with
is
the
being
shade,
a
apparent
of
not
colour
changes of
confound
to
for
these in life
by the
substance.
sense,
finds that all like the
too
the circle,and
positionof Again, every art the
used
appearance
contempt
change
distance, and
determination
the teacher in
to
is reconstructed.
or
the
space.
essential
is
foreshortening. To the non-artist illusions,deceptions making the daily walk difficult perhaps, but easilyto be overcome
"shadow"
than
the
at
to
wariness, by the
are
looking
distances
light and
by shadows owing
of
Philistine, sub-conscious
a
appearances,
form
artist's way
of
power
throughout of
with
compared
This
perforceto
the
beginners make their object; their ellipses
their horizontal
surfaces
wider,
object warrants.
teacher
knows
that in
a
junior class
THE
BIAS
OF
VISION.
practisingobjectdrawing, there where the pupil has not drawn it from where object as he sees if he
appear
of
drawings
in another
were
object may
an
yet made
appearance, In this
the
found
students
of
the
it would
as
Sometimes
almost
several
two
identical
in
feet apart.
evidentlyexpended projectinghimself into
has
in thus
energy
is, but
case
one
appearance
he
the student, who
case
intellectual
some
will be at least
position. be
by
9
imaginary position,does so because he feels that the view he actuallyhas would give but an imperfect idea of the shape and function of the object,and this gives the an
clue
to
so-called
Egyptian symbol shoulders The
in
of
front
houses,
eye, a
nose
house
a
in
same
mouth
illustrator
less in
pictureamong
same
than
height
In
himself.
depict a profileview and
all these
his
causes
often
add
well, or they depict both
drawing.
one
The
the profile, the legs again in profile. the king twice the size of
of the eye, as
work. in
the head
in the
times
reason,
front view
and
makes
etc., rather
trees,
Children, for the face with
and
in old
see
the mediaeval
several
appear
we
shows
man
bas-relief
Assyrian to
a
view
his attendants, while hero
that
errors
cases
of
a
another ends
of
appearance
ignored. The delineator is obsessed by realities,and of is occupied in presentingthe largest possiblecontent the objectsdepicted. pupil is Similarly,if an object with which a young is
familiar,such
as
a
kitchen
bellows, is laid
upon
the table
drawing lesson, the apparent change of shape due to foreshadowing is apt to be ignored,with in plan,with the result that a view is given of the bellows students The the side view tacked it were. see by as on as
an
exercise
in the
DRAWING
10
a
and
a
imaginary positionenables ing drawvisualize to easily. Such objects more be called wrong an cannot early, ; it merely denotes in these days of realism and photographic vision, an
bird's eye them
STUDENTS.
ART
vision, the ground plans of objectsas
of mental
kind
FOR
view, because
inconvenient
that the lines
sense
follow, for these
may
being concerned of
be
art, the
intricate
making
hard
to
rather
a
the
students,
and
the modern
latter still
or
easiest, but
teacher
with
culty question of diffi-
a
are
of the
between
misunderstanding aspect
It is not
convention.
in the
former
that
sophisticated
or
of traditional
use
conventions. And
indeed before
came
treated alive
of the
vase
and
painters of was
lightand
shade
had
been
cite the
the
the
detailed
quattrocento.
artistic,and
Consideration
might
illuminators, Chinese
representation as enables
periods of greatest charm
splendidly characteristic animals of the Egyptians, the forms with their linear purity,the earlywork
mediaeval
drawing, ,vision
perspective and
scientifically.One
and
Greek
the historic art
triumphed
Japanese
the
naturalistic
all these
periods the
of
vision In
and
over
inconsistencies
of
judged by later standards. of this deference
to
the claims
of
reality
appreciatethe difficulties his students have in grappling with the figure. Beginners the head make too large for the body, the face too big for the skull ; the hair like stringor wire, pre-occupied as which be compassed on cannot a they are with realities, Their vision may be said to be anthropoplane surface. morphic, for they regard everything from the human of standpoint. A house at the end of a long avenue the
art
teacher
to
THE
BIAS
trees, for instance, is it appears,
because
OF
VISION.
likelyto
ii
be drawn
it is the home
much
of man,
largerthan
and
such
as
is
unconsciously emphasized. In this connexion
sucH
beings
all have of
means a
children
old
with
the
symbols but
with
of what
the
an
How
for
but
by
draw
to
and
hide
often or
ready-
draw,
as
the
fog
or
biassed
which,
ago
by
drawing practicethese
by
what
not
this subconscious
it were,
simultaneouslywith
eye
they
their vision
them.
sub-conscious
image plays strange pranks
Sometimes
drawing.
drawing,
immediate
an
re-appear,
long
no
questions freely asked
are
object coloured of
in
are
early childhood,
the students, who
inner
is before
This
in
expectation of
image behold
that there
recipes or symbols.
images
or
before
they see,
noted
In later stages of
answer.
object set
the
draw
to
horse, tree, etc.,
man,
made
taught
series of
a
be
pupils totallyuntrained
as
been
it may
the
student
substitutes
with his
physical proportionsfor those of the be the features of the model, or may previous sitter the drawing. on appear Students' an figure drawings often betray to amusing extent the type they fancy in the opposite sex, is the while inabilityto portray equally common own
an
features
alien
transformed one
looks of
and
racial
type.
The
usual
Italian
model
square-profiledEnglishman. students' for it,"the English look" on is quite ludicrous. foreign models into
a
an physiognomy of even absolutelydifferentiated
allied from
race
like the
that of the
is
When ings draw-
Dutch
The is
English type.
DRAWING
12
concentrated
Much
needed.
it
himself
with
consider
quick
to
before,
and
alter
would
Apart
hasten
lay
a
the
proportion
and
students
outside
people,
young
and
visualize other
illusions
things
from other
of as
teacher's
exuberant
in
artists
youth
they
dealing
care,
than
words
are.
the
already this
often
from
they what
much
it, very
is
students
being;
pose
correct
to
themselves. their
freedom
Too
from
are
they they
as
figure.
from
then
in
variation
some
free
achieve
to
way
human
a
as
young
fetters
subject.
his
model
the
find
only
the
as
subordinate
himself
set
to
get,
a
and
anthropomorphic
sympathy
barely
has
to
which
in
the
forms,
race
himself
intrenched,
He
Perhaps
to.
through
In
model.
of
teach
to
personality,
own
sub-conscious,
alluded
has
impregnably
his
to
these
saw
his
is often
person
student
for
searching
and
differentiation
this
up
The outside
were,
STUDENTS.
ART
observation
make
which
accents
are
FOR
pass
with
of
construction
chief
difficulty
The
well-being
vitality,
make
it
terms
of
begin
to
from
faults
their
difficult
their see
them;
they
to
of
good for
get most
spirits them
to
personality.
own
more
is
truly at
as
length
the see
CHAPTER
III.
PROPORTION.
To
entail
endless
well
give
little
also
may
the of
that
of
head
proportion
lines,
middle
triangles, of
used
to
As
while
verticals
Mr. props
Water
or
in
and
body,
the
horizontals
Sickert
introduced
looks
at
or
in
may once
help
to
13
details
with
the
to
ing build-
the
with
a
develop rules.
by of
times
constructions
elaborate
wrote,
child
begun
number
out
yet
ing, drawa
might
the
once
of
affairs
smothered
blocking
drawing
has
towards
in
The
that
end,
which
be
as
their
affairs.
step
often
of
traces
a
commence
a
felt,
that
practice
otherwise
are
the
the
it will
teach.
to
drawing
assiduously into
measures
left
same
who
which
coached
are
the
to
citizen,
good
is
in human
proportion,
Exercises
eye.
Students
of
sense
the
sense
well
a
proportion be
of
meaning
claim
proportion contend
the
and
humanities
proportioned
made
of
early aim,
will
more
the of
sense
when
has
steady
many
for
leads
up
or
teacher's
rightly pursued,
develop
the
a
teacher
the
of
idea
some
teaching,
teachers
studies
the
be
measured,
as
The
who
student
should
proportion
art
the
give
in
volving insquares
ings scaffoldstudents
found. "There
student,
are
with
too
the
result that the The rules the
edge
of observation
may
be
same
of
rote, tend
by
Students
observation.
blunted."
is somewhat
perspective,the
of
said
hastilylearned
of which, powers
STUDENTS.
ART
FOR
DRAWING
14
formal
atrophy
to
sometimes
seem
to receding parallelsare made be expected of all is done that need vanish somewhere, them, with the result that on looking at the drawing we of what has it to be merely a travesty of the forms see been placed before the eye. to
think
that
The
writer
children
class, and asked in
to
pick
showing
there
was
a
drawing
he
out
some
chorus
had
drawing
close
of the
the best
of
of dissent
when
chosen,
for
But
like the box, whereas
Of
not
it had
looked
too
drawing
placed
box
lesson
knowledge
perspective.
or
a
the
the
students
some
lesson.
before
students
the were
handed Papers were perspective rules, and
drawing.
correct
long
with
school
a
teachers, to watch
were
the
at
as
visited
once
become
trainingto Some
long
so
the writer a
the
single
showed
line
the in
was
right proportions,
the other
drawings
were
it
too
high. the student
always ascertain the proportions but the appeal to be fruitful must by measurement, be mainly to the The living model, whether eye. draped or nude, affords practice in proportion readily appreciated by students, for they know people best, and familiar with their own build and proportions. are What known are as common objects do not, to the same this,critical faculty. extent, develop in the student Most junior students calmly make extensive alterations in vases, etc., without qualms of conscience, while, any of doors, such objectsas trees make out still less appeal course
can
PROPORTION.
to
the
of
proportion,for they are assumed by the have ingly contour no or shape, and are accordand chopped about to fit them within the
sense
beginner
IS
to
hacked
limits of the paper. line as junior pupils "drawinga middle causes misproportion, the drawing invariablybeing too wide. With
Sometimes
bad bias.
hands
and
thought
are
to
be
the face too
make a
feet too
from
to
mencement com-
almost
pomorphic proportions result from the anthrothe Young students generally draw small
small, because
becoming. large for the
corresponding share But
a
On
the
head
and
hands other
because
feet
hand it
they
occupies
of their attention.
this neglectof proportion arises great extent which method, along with confused goes
a
bad
begun at the top and worked the student downwards, trustingto his luck to Hence the legs get crowded get the whole on the paper. into less than their share of the space, or the feet perhaps vision.
have
to
The
drawing
is often
be omitted.
proceeds in a random way which positivelystultifies feeling for proportion. One often sees drawings slippingoff the paper, as it were, or for so pushed to right or left,without artistic reason doing. will do much towards securing proRight methods portion. Too
often
No from
head
to
figure,every line
once
the
student
details should foot
be
drawn
establishingthe
object will
furnish
at
whole
some
but first, form.
such
found, the proportion of the parts
steadilyand
safely.
line
Every
line. can
a
This
proceed
1
FOR
DRAWING
6
of
scribble
every
of the model,
rather
contours
An
object.
figurefrom One
than
forms, without their
noting
first
it has
as
results
ing stage the draw-
looking along in the
made
be
pressive ex-
taken.
been
from
should
last
to
good proportion,and
surveying, taking
of the
mass
to
the
all the
see
foot.
to
that
long
so
detail in contour,
with
pre-occupied
of it, is
in
put it in this way,
may
want
or
that at any
early attempt head
drawing
so
far
proportion often
Bad
are
so
that the
from
line
Every
way.
workmanlike,
be
may
method,
Such
considered,
be well
should
in."
sketched
in
dashed
toes
produces a mere badly scrawled detail, cism critiin anyhow, and
by the casual remark
is countered
vicious
of
figure,full
the
features, fingersand
"only
who
by the student,
misunderstood
strangely-
is often
out"
preparation of "blocking
The
is
STUDENTS.
ART
the
making
that is, with
to
the
preparation of
necessary
directions, failure
beginners
as
good proportion
secure
is inevitable.
Obviously every
time.
The
of the
excuse
not
who
intend
draw
the
is familiar
teacher
art
student
legs, that he did
is to
corrective
one
for to
of
want
draw
whole
with
the
lying
omits
room
Such
them.
figure the
scraps
figuresdefeat one of the great aims of the study. The can figure prepared or indicated, the student then concentrate that appeals speciallyto on a passage of
him,
but
exercise or
set
is to be
of the action This
vexed
out
from
head
to
foot
of any
value
as
a
it must
study
in
be, if
the
proportion,
of the
method
question of
figure. gives the clue erasure.
One
to
the
sometimes
of the
treatment sees
a
student
PROPORTION.
rubbing
ing tryingto do so, a largeportionof a drawSuch alteration is at a comparatively late stage. of spirit, vexation and an acknowledgment of a and artistic commencement beginning. With a studentlike
mere
bad
out,
or
little or
This
the paper.
no
by requiresa
for the proportions
is necessary,
erasure
be fixed
should
on
17
the firststrokes certain firmness
the part of the teacher, and
a
self-denial
plantedupon and patience and
inhibitive
of the student, always readilyat the command who with the notion that to the study of the model comes it is possible and commendable that figure to transfer this done in For has he not seen bodily to the paper. not
power
the work
of the artists he
most
admires
?
mences Generallythe procedure is this. The beginner comthe figurein a "blocking out" of his own to draw
fashion.
Horrified
hurriedly covers thus
to
secure
over
the
at
starkness
of
his
the first lines with
likeness, with
the
result
effort, he
detail,hoping that
a
figure
less looking bonethe necessityof the stuand sawdust stuffed. Hence dent occupied learningwhat is at first alien from his thought,(prehe is with realizing the objector figurebefore as before drawing, him), that there is a stage which comes namely preparation,in which the placing on the paper, have to the proportions,and the directions of the forms be studied or analysed without reference to naturalistic students It may be safely said that many treatment. leave art study without having secured the discipline and trainingwhich rigoroussearch after a good preparation appears
represented by
alone To
some
can
contour
lines and
give. students
it is
an
objection that
these
first
1
DRAWING
8
get in the way
strokes
spoil the
out,
has
As
a
as
etc.
To
virtue
said
long
a
to
come
and
part of the
be
to
rubbed
reply that liness in drawing study. Cleanto godliness,but it next this
one
may
bi^ind.
way
disappear under if rightlyplaced are astonishingly completed study. The form comes first strokes
of fact the
matter
the later work, useful
drawing",have
minor
a
been
certainlylags
of the
paper,
is but
neatness
STUDENTS.
ART
FOR
perhaps just outside or inside the first line. In the work his line and his detail all draws of the genius (?) who in knotty swollen "at one contours, go," the result is seen mere exaggerationsof the form. Students
often
They thus their
which
upon
to
soilingtheir drawing. fying to draw piecemeal, stulticompel themselves able feelingfor proportion,and losingthe inestim-
their hands
rest
of paper
sheet
a
use
in order
avoid
to
advantage of seeing the whole
of their work
all the
time.
Many poses, especiallywhere the figure is seated or struction reclining, suggest a simple pyramidal or triangularconsuch
triangleare
shown
as
in
fig.
If the sides
i.
rightin direction,which
to
the lines
that formed
with
the paper,
on
by the
are
correct.
the
drawing being at
the mind attention
As
far
can
as
be
pose,
This
then and
the
enables
without rest
as
given
the
hesitation
regards the to
the
easilyascertained model and comparing the triangleis similar
by holding the pencil againstthe with
of
is
fore proportions therestudent
and
to
proceed
embarrassment
;
first lines undivided
construction
possible drawings should
and
be
artistic
made
pression. ex-
sight
'^~:-^SsJ ._.'i-^rS
Fig.
I
"
\vho3c proportions are reclining figures contained them in by assuming triangles.
Sketches of seated ascertained
:,:"*.
or
'9
easily
-s
f=
PROPORTION.
that
size, before
the
he
as
size
of
model.
the
student
and for
the
a
tracing
Faults
in
on
works, the details
general
he
a
than
the
scale
that
tend
towards
proportions
sight of
the
in
occur
size,
sight with
size,
drawing.
which of
proportions
the
held
glass
often
larger forgets
result
of
pane
proportion
somewhat
with
started,
extremities small
the
commenced
drawings for
is
21
that
is
his
too
IV.
CHAPTER
FORMS.
TYPE
Young
class,
from
emancipation
in
No
drawing.
effect;
They
have,
however,
of
representation
relation
with
the
attention
be
below
trouble.
has
they
say
form
sinuous
on
paid
and
apply
to
is
model's may
the
head
is
of are
but
receding to
unless
its
student
is
level
a
on
muster,
perspective, law
the
to
objects.
drawn,
pass
features
the
equally
inanimate
face
of
principles
the
appreciated,
the
the
then
if
that
drawing
been
observed
learn
the be
If
the
above,
or
be
level
eye
student's,
no
must
cylinders,
eyes
and
form time
every
the
have
to
to
living
example, with
certain
and
our
invariable,
are
appearance
For
feast
now
and
modelling.
subtle
and
shall
we
their
on
perspective
of
cubes
more
life
or
themselves
with
thraldom
the
antique
the
to
hands
shake
to
apt
are
model
promoted
students,
if
even
if
the
eye
parallels intelligently
be
represented.
Again, the
planes the
Especially
head. of
students
the
front are
fail
often
beginners
is and
unable
this side
observe
to
so
in
views,
properly
to
the
regard with
place
to
the the
of
planes the result ear,
three that which
TYPE
persistsin coming
forward
FORMS.
in
a
23
distressing way.
All
forms,
sphere, two
be
may
type
(fig.3). omitting the derived
forms,
the
from square
prism and cylinder.Of course by multiplyingthe faces of the prism one arrives eventuallyat the cylinder, but it will be convenient to keep them separate because
each method
The
cone
ignored in
FIG.
4
they
are
derived
from
the
and
represents
a
ferent dif-
of construction.
pyramid
because
as
cylinder and
may
be
shown square
prism respectively.
Fig.
4.
representationin perspective of objects based the square the prism, depends upon apparent upon of parallels, which is another of saying convergence way The
DRAWING
2+
that
things appear
FOR
smaller
ART
as
STUDENTS.
from
removed
they are
the
eye. of formal cylinder,though for the purposes embedded within a as perspective considered square intricate construction prism, and involving a somewhat for obtaining the curve of the circle in perspective, as regards its circular end, needs not the aid of receding parallels,because when foreshortened, the circle appears which should be drawn such without an as as ellipse, any construction other than determining the direction of its long axis (always at rightangles with the axis of the cylinder). Most natural organic forms are based on the cylinder the trunk and limbs of animals, including human as of representationthese are beings, (though for purposes better considered based on the square as prism),and most of plants and Of fashioned stems trees. objects,all metal produced by or pottery and other objectsof wood form of turning or lathe work, are the based some on also tinware bent beaten around cylinder, as or moulds. cylindrical But
the
Based
the square
prism are furniture and buildings,which man with the right-angle. to construct are building materials as bricks, stone,
on
framed finds In the
it convenient
category
same
and
cement
as
wrought
also boxes, books, etc.
Fig.
shows
5
the
principle
cylinderwhich should be followed, be the position. It is true that some their construct
structures
a
lessons
in formal
prism first,but
of no
constructing the matter
what
students,
may
bering remem-
perspective,laboriously
this is dreadful
slaveryand
TYPE
since the
unnecessary,
sides, and students
the two
that
arcs
fact
no
ends
of circles have in
progress
forming the
straightlines
two
Some
in the face.
short long and aids ruin the feelingfor the curve. pointed owing to the fact appear
diameters, but these the
2S
ellipsesstare one the ellipseon
construct
Sometimes
FORMS.
been
its
object drawing
Fig.
As
drawn. is
a
of
matter
possibleuntil
the
5.
be drawn ellipsecan freely in any of the hand and arm. a single movement If the student lacks this facility five minutes practiceat a blackboard day for a week at squares, circles and, every ellipseswill set him free of these forms for life. One
straightline positionwith
observe
may half
that
beginners
the defect
To
is to
the student
who
and
all
authority "
cure
is content
days,
type forms
trammel, but
once
with
The
head
a
no
standard
has
been
to
reallygreat "
than
draw the
lower
the upper
"
to
it.
in their student is
to
apt
are
ellipseflatter
of the horizontal
notice
to
and
subordinate
artists have reference
this constant
of form referred
himself done to
this the
help, supplying him at of drawing. and a method a
to
as
an
approximation to
the
The
prism.
point
to
between
hand
the arm,
and
and
with
a
male
wrist
the
of the
cylindricalform
of the hand,
this part of
Coming
the
the
the faces
fall under to
cheek this
head,
and line
6.
the
undulating line
marks
should
borne
it must head.
when
seen
this
as
in mind
relate with All
of the
prism,
of
the
from
from
the
light(fig.3),and side
of
difficulties
to
of front
great
by
are
the
and
features.
that the another
the contour
applies with
is
of forehead, cheek-bone,
present
they
or
ing penalty of failling. vigorous model-
straight edge
intersection
planes which obsessed
contour
it turns
the
beginners be
relate
must
prism representing the head
jaw, where
two
the
secure
The
ia
planes of the body
great
with
figure as
the
whole, the student
its
arm
(fig.6).
shape, to
and
forearm
form
characteristic
size
coming
prism
this
and
matches,
gives
replaced by
of
contour
shape- and
in
the flattened
Fig.
link
a
by the failure
caused
compared
be
may
of
more
the
stantly con-
the wrist.
see
large box
between
it modifies
how
arm,
forms
wrist
the
way
distressingeffect
the
of the student to The
the
out
figure
has
teacher
The
students.
to
of the
detail
is another
wrist
gives trouble
which
STUDENTS.
ART
FOR
DRAWING
26
edge in question point of view, and
of the further
equal
force
to
It is
a
that
side of the the
trunk
TYPE
and
limbs.
should
The
be
seized is apt
front
sides
and
squareness upon,
roundness
FORMS.
to
of
otherwise
result.
This
the
trunk
woolly
a
especially
unstructural
intersection
of
the
complicated and be watched for. broken, but must (fig.22). This principleof the great planes is shown very clearlyin the statues of the Egyptians. Often the limbs absorbed that the finished figure remains a are as so block. The of course, lay in the material, the reason, of which hardness ing prevented the sculptor from indulgin undercutting and over-modelling, (fig.7). whose
Ruskin, art
close
teaching is always attention
forms.
His
"Modern
be
His
in
cloud be
fully. care-
of
very useful.
systems as
ing vanish-
presents
some
owing
to
rotundity,the
horizon
little lower
read
The
difficulty,as the earth's
of trees,
considered
horizontal. line
on
is also
forms
All
the
type
analyses
interestingand
cloud
to
Painters"
etc., should
should
gave
remarks
construction
cloud
is very
torse
tical prac-
consideration,
worth
the
of the
27
than
line
is
that
a
Fig.
of
earth, but the point is
not
of much
7.
importance.
A
good be
exercise
likened
is
to
of match
(fig.8). landscape painter,Boudin,
The
simple systems of talityis carefullyobserved.
for his
be
clouds
When
in which
An
example
lO;^
to
the
level
determine
drawing from upon
often
the
a
lose
which
the
observed, supply the
(fig.2). Neglect
of
the
horizon-
the
of his work
cannot
eye
is
case
every
receding
or
that of
is sometimes
horizontal
their
more
pose
studied
be
a::^.
approaching
are
effect of distance
Students
bench
a
8.
directlyfrom it,the appearance in this "vertical" sky, but even made
should
clouds
Fig.
which
at
Gallery.
in the National
seen
f^^
be
held
boxes
may
the eye.
above
to
clouds, which
sky full of cumulus
a
number
a
STUDENTS.
ART
FOR
DRAWING
28
effort should
surfaces, without
be secured.
grip of type forms or
a
less
recumbent.
when The
figureis lying will, if carefully of the latter. general directions for these simple lines accounts
FORMS.
TYPE
failures
many
to
be
said
drawings
of
which
of
quadrupeds, often
relation
their
because
appreciated, depicts for
its
in
height,
shape
has
an
been
horses, unstable
9.
the
(fig.9). the
and
vague
type A
prism
prism
is not
well-known
alpine landscape
because not
with
and
dogs
as
look
Fic.
The
fore-shortening.
correct
secure
may
same
29
a
which
cow
ciently suffi-
ment advertisemuch
forms
properly foreshortened.
too
long
its underlying
CHAPTER
V.
CONSTRUCTION.
No than
word
is
"construction." it is
terms,
the
only by
constant
be
that
sure
the
tin
a
the
on
detail The
of the
the
example metal
bent
soldered,
is
and
the
give
to
entire
second
use
drawing,
an
of
All
it.
imagine
they
and
simplicity,
discussion
teachers
can
in
are
agreement
build
of
as
that riveted
to
in
form
word
entirely
is
refers
might been to
the
thing.
To
take
made
from
edges
being
bent
base,
composed
has
different
3"
a
One
construction
two
strip
form,
rigidity.
it is
the
flat
a
tion" "construc-
object.
that
cone,
meanings,
First
the
note
may a
distinct
two
artists.
by
into
the
stand under-
uses
when
utmost
has
semi-circular
itself until
we
teacher
shall
used.
terms
actual
the
students
their
the
lapped
handle
bent
of
student
and
technical
other
the
the
"construction"
and
cylinder,
and
they
as
of
lapped
with
constantly
more
with
jargon,
a
questioning
mean
pail
sheet
utter
indiscriminately
may a
to
that
sense
talking
be
word
used
the
apt
meaning
This both
in
to
lips as
that
necessary
are
themselves
teacher's
art
Therefore,
most
word
specialists
to
the
on
into
and of
a
that a
strip
continue
in
investigated. construction
When
one
CONSTRUCTION.
of
speaks that
drawing being well-constructed,
a
it is built
actual
31
up
construction
of lines
and
tones
which
means
one
the
suggest
of the
object depicted. difficult to the beginner than the Nothing is more advice to construct in the drawing. He the model sees all its complexity before him, and with a preconceived notion that drawing is imitation, cannot abstract his gaze from the details in order to search for the long enclosing lines of the figure, and those which indicate its build. A great deal will have been learned if the beginner has been already taught to set up work in clay. In a is obliged to "construct" his study, for way, the modeller he
cannot
at
his model
up
once
arrive
at
a
He
contour.
has
to
build
simple planes before he can think of the surface of here teachers modelling, though even of the way students modelling speak with sorrow evade the problems of constructive modelling, and the haste with which they attempt the more superficial qualities before their study has been carefullyset up with the great planes. On it is fatallyeasy to paper the begin with surface markings before setting down main
lines
students
in
of construction. inclined
There
ignore
to
are
two
construction
"
classes
of
first
the
of detail, only as a mass beginners who can see nature and secondly those students, clever with their fingers, who fancy they can draw well enough without the trouble arrive at a result, by means of "blocking out," and who which of their facility, them in ignorthey think justifies ing construction. may
it
was
that
To
judge produced, and
say
a
the of
latter class
of students
one
drawing can tell unerringlyhow can see, through the facile execu-
DRAWING
32
owing
tion, the wealcnesses
Further, the greater
vision
that difficulty, owing to want
it is of
artist,the
an
lack
of
more
likelyis
drawing. drawing really means in the early stages,
Constructive intellectual
to
construction. he thoroughly
his
construct
to
STUDENTS.
ART
FOR
concentrated
looking
training,are
that students,
this time
preciselyat
presents this
and
the model
at
with
uncertainty,which result in slurred and fumbling drawing. Many students, indeed, begin be after a cursory to draw glance. The model should and
embarrassment
scrutinized
well
It is
commenced.
drawing
is made
the
during
Further
perhaps
about
the most As
drawing.
begin
proportions t)f the model and
way,
has
been
forms.
The
essential
based
on
actual with
of the foot drawn
as
dealt
and
movement
a
a
with
sketch more
horror
with
lines
the
to
at
be written
can
what out
or
generally
the pose
less
are
mass
outlines. line from
under
:
A the
those these
the
its aspect, add
figure, a
Attention
to
rag
at
type once
is best to
menced com-
the heel often
are
aimless
giving the impression of stuffed
a
necessarily
pit of the neck
doll
of
give
not
standing pose
the contours,
boneless
like."
of
head
which are
and
haphazard
supporting the weight. Shoulders isolated forms, the result of two
wandering round
This
same.
hope of making it "more preliminary construction
the
extent
some
drawing the
in
being stricken
detail after detail in the To
that
detail,
adds
the
already mentioned,
is that students
happens
work
remains
important caution
that the
minutes
firstfew
marred.
or
drawing is
before
little time
some
substantiallythe drawing
but is
for
with
a
sawdust.
the lines of the collar bones, sternum,
arch
CONSTRUCTION.
of ribs
33
and
this as regards the torse. pelviswill correct The look like Christmas to legs are especially prone have been stockings,because the inner lines of structure omitted. The bulk of the knee, the line of the tibia (in the front view),the lines defining the ankle, and suggesting the stirrup-likemovement of the the foot within ankle, and the backward swing of the heel are important. forward be noted direction in the a Especially should side view of the leg above the ankle, due to the tendon of
the
with
tibialis anticus. result
the
club-like in the
look.
leg,is
to
muscles
thumb
that
be
the
angle forming
at
the elbow,
the
back
these
place
results. and
to
the
to
of the
the
often
angles
show
It should
variations
that
balanced
by
Examples
of the
observed
in the
at
above
in
almost
swelling
a
tendons that
the
the
point
any
the
on
constructional
angle
In
in
with to
that
supinators.
in front.
regard
harmony
considerably
cause
level
same
added
be
is
arm
the
noted
be
great perseverance
the
at
in
positionof
than
slight
forearm, where
It should
lower
come
the
wrist.
to
Indian
lumpy,
a
the contours
crook
owing
on
varying
jointthe hamstring
students
cases
elbow
students,
many
of direction, though
clearlyin up
crop
escapes
takes
leg
change
seen
that
In the knee
the
This
with
above
from
This
both
trying to
distressing
these
torsions
hollow
a
opposite points
figure drawings reproduced
is
contour.
may in
be these
pages. The submit criticism
student his
who
drawing
wishes to
those
of his construction.
to
progress
more
should
advanced
constantly for detailed
CHAPTER
TONE
Young
between
oftentimes First
Here,
to.
the
object
be
the
line
edge
and
often
ignored
edge
of
the
influence
will cast
shadow
they
deem
shade
is
space
of who
shade
to
to
be
rests
with
the
Thus
area
be
H
shade."
of
limb
a
completed
the
on
shadow This into
area
is two
sighted
sharp
light
students bias
negligible
object.
the
reflected
anthropomorphic the
of
by
object
the
"line
their
to
the
is cast
object
divide
for
adhered
(fig. 14).
which
by
and
on
the
the
draw
form.
"shadow"
dark.
object.
adjoining, shadow
if
of
"shade"
by
allowed
they
study
continuous
shadow,
separated
that
explained
the
that
a
draw
a
while
noted
rounded
of
be
light portion
and
clearly
the
the
at
responsible
in
speech,
by beginners,
shade
is
of
encloses
portions, eyes
the
should
must
surface,
from
ground
progress
ordinary
a
on
divided It
in
as
is
kept
be
to
distinction
"shading"
used
terms
been
have
they
privilege
great
a
and
slow
the
it
unfortunate
the
"drawing"
their
is
and
if
especially
consider
work,
"shade,"
to
PRELIMINARY.
STUDY"
students,
outline
VI.
the
on
under
already yet later
compared
the tioned, men-
leave
its
because with
an
TONE
The
STUDY"
line of shade
represents It may
contour
a
be grey
is of great from
seen
and
PRELIMINARY.
indefinite
35
importance
the direction when
because
of the
it
light.
the
tensive, light-areais exas a admitting daylight, or sharp large window and dark when the luminant is a point of artificial light, but it is always present. Students sometimes shade as if the dark gradually merged into the light. This is a convention which is not supported by observation, and should be discouraged. A certain amount of lightis reflected to the object
from
side towards
the
light,but
especiallya
area,
shade
area
stated
in art the
isolated The
school
is that This
is
"the
the
on
in the shade
approaches
of shade.
edge
diction
lightestlight."
it
as
the
near
traceable
It follows
in shade.
darkest
appears
is not
be observed
may
contour
that is to say
area,
near
This
the floor,walls, etc.
that the the
light
The
rule
darkest
dark
clearlyseen
as
is
in small
darks. forms
within
shade
a
often
area
present
great
difficulties to reflected or
darken
beginners,who see them necessarily by light. They outline these forms with black, unduly the concavities, and are distressed to
find that these
lines and
darks
persistin coming forward, and ruin the unity of the shade To area. remedy this between the they should note an interestingcontrast conditions of the expressionof forms in (i)areas in light and (2)areas in shade. First, the surface
by darks, excepting,of are
defined
lipsby darks,
by and
forms course,
darks the
in
ear
below
the
the
light are expressed high lights. The eyelids
the brows,
by lines
and
the
nose
patches of
and
dark.
DRAWING
36 the
In
shade
however,
areas,
STUDENTS.
ART
FOR
forms
reflections or
lights. If this region
general tone,
the forms
the
than
as
nostril
the
but
or
otherwise
principleholds
the the
Between
two
lightareas
the
shade
somewhat
as
"like
trees
have
been
for his
walking."
All
well
of this.
aware
remember
student
often
Too like
look
lit from he
again
forms
within
refuse
to
can
be
he
retire, and
no
hard
used
his
impasto keep
to
quiet.
when the
working reflected
emphasizes
area,
the shade
until
them
made
or
area
lights under
of
trol. con-
they actually if
as
glass or
dark
the
outlines
with
the
result
obstinatelystand
lines in the
at
of the darkness,
out
within,
shade
onwards
Rubens
Rubens
strengthens with the
important
particularlycareful
was
"lights"blazing
figure were Or
hold
to
darkened,
show
painters from
his darks
within
Similarlythe must
but
light areas,
forms
the
notice
we
lights. Of light,such
clearly. In soft, ill-defined, edges are are look men shapes in twilightwhen
forms
area
a
attention
another
is
defined, and
well
are
by
intensityof lightthe forms
the
to
by
good.
there
areas
.difference.According in the
reflected
the
cavity receivingno reflected have to be orifice,may ear
actual
an
course,
working of
careful
indicated
is
little more
need
within
expressed
are
china. of
that
forward.
shade, owing
the
the
they
There
to
of
want
illumination. As in
the
light areas
luminant occur
is
below
reflection,coming from in the as
the
upper
generally from the
above, the darks
forms, while
the
main
below, the reflected lightis
part of the concavities
footlightsilluminate
those
of the
parts
of
seen
forms, much the
actor's
TONE
features. both
by
artificial
Fig.
light
STUDY"
ioa
and
light.
shows dark
PRELIMINARY.
the
areas.
general The
37
of
principle drawing
was
ing workmade
CHAPTER
TONE
The
the
witness
will
use
found
the
The the
of
sometimes
was
drawings
this
result
on
Hexterous suitable
being
with
adopted
the
well
materials
lead,
of
the with
students
tending
and paper,
to
Diploma
meeting
of
So
crayon
for
students
38
duction intro-
the
black the
Wellington time, their
up
that
manipulation and
the
Gallery
much
stippling
lustrous
to
implement,
work.
continued a
although
broader
achieved,
continued
the
it;
and
pen
until
favourite in
show
the
these
student
finely pointed
not
was
right
be
renaissance
chalk,
and
art
Maclise
drawn
by a
as
It will
the
red
black a
by
wasted
was
or
Academy,
Blucher,
their
drawing
of
points,
remained
Royal
and
career.
used
and
of
cartoon
the
and
a
silver
plumbago
enormous
of
and
point
his
masters
black
weapons
of chalk
the
of
charcoal,
main
in
him
and
colourmen,
materials
of
as
schools.
art
gold
the
artists'
the
commonly
drawings
use
be
assist
to
the
at
in
of
materials,
in
interest
great
selection
proper far
go
glance
to
takes
prosperity
the
certainly
EXERCISES.
STUDY"
student
art
VII.
pearly
the
ever, howchalk
stump
Unfortunately found of
that the
texture
by
stump was
TONE
obtained.
This
STUDY"
39
ing again refined upon, by touchwith a finelypointed chalk, and by "breading out" black spots, prodigies of industry being performed on such drawings. Thus did the misapplied industry of students The
great
could
EXERCISES.
defeat
the has
stump of
one,
its or
mastery
disadvantages besides drawing to look better than
an
indirectness
with
the stump
a
this it is
The
in the method. and
then of
form.
Also
with
corrects
more
be put in his hand
and
This
used.
be
must
capable
weapon
must
line
over
indiarubber
or
rubber, whereas action
teachers.
producer. The stump touch is always "muzzy," and where a sharpened edge
required bread handicap causes fumbles
of
also other
is
trenchant
efforts
enabling a
in the eyes of indeterminate
student
be
direct
and
is to
gain
if he
in
spite
of
its
ally the rubber, can be made and tinny in character, to produce drawings hard masks and students have been known to to apply paper the drawing and then rub vigorously with bread, thus which they supposed obtaining that clear hard contour indirectness
the
the authorities What The
to
not
of the
one
the
overshot
for form
search
tone,
for
it
making measure
of
It
The
erasure
smoky to
producing
study.
to
mark.
this need, for any
applies also in some implement capable hardly
to
requires an
tentative,allowing him
has
meet
him
drawing practice?,
for
be remembered,
will allow
extent
if he does
is the best material
student, it must
some
its
wanted.
then
which
with
stump,
must
or
the
be
it must
withdraw black
what some-
crayon
acter alters the charsmeared. lead
beautiful be
;
ment imple-
used
This
pencil, an effects,but
directlyor
FOR
DRAWING
40
ART
greasiness results,also it misses chalk.
Moreover
pencil
the
STUDENTS.
the definite black is
the
of the
implement for lead for drawing
using the still go on writing,making zigzag,scratchy marks with the fingers, often closelyresembling written words, which the teacher may pretend to decipher much to the disgust writing,and
of his
students
when
pupil.
Charcoal
meets
most
of the
requirements
very
well.
easilyremoved, allowing several trials of the first It varies from stage of a drawing if reasonably used. underthe soft velvety black of a well burnt stick to one black, burnt, and as hard as an H pencil. From a dense of the finger, the tone be lightened in a can by a sweep No beautiful of the paper. gradation up to the tone other implement gives gradation without great labour, and this labour, as mentioned above, is apt to degenerate It is
into
stippling. in the early By using the softer grades of charcoal trasts stage of the drawing, full emphasis of form and rich conof tone be readilyobtained, while for .detailed can expression, harder charcoal will give all the definition that can be obtained with a or pencil,chalk stump. Chaircoal is,of course, sharpened backwards, like a chalk point. It should be used with a paper of square grain like that known Michallet as or Ingres. Lights may be less emphasized with bread, ordinary indiarubber being usewith charcoal, though "putty" rubber and tinder ma,de from fungus may be used. The student commencing the study of light and shade is often kept to the whitened models and casts whereas what he requiresfor the development of his per-
Fic.
Fig.
Ioa
treatment
10
"
A
drawing in
charcoal from
an
head. anticjue
diagrammaticdrawing showing and shade between the forms in light is
a
the difference in areas
respectively.
4^
TONE
ception of
is work
tone
The
textures.
STUDY"
EXERCISES.
from
43
objectsof varying tones
ordinary still life
group
and
fulfils these
con-
glitionsfairlywell. If set
group, say of three or four student is at once faced with
simple
a
the
up,
main an
is
tones,
exercise
in
composition. Any group may be treated as a square, upright, or oblong composition. The being square and generally the refuge of the weak-minded composer eliminated, until
a
of
series
small
solution satisfactory
a
Now
will
come
a
sketches
should
be
made
is obtained.
tussle
the student's
between
tarian utili-
anthropomorphic tendencies, and his artistic vision. He is very apt, from past experience and judices, preto grade the objects he sees according to the A bottle being agreed value set upon them by mankind. to hold or an object made by man liquid necessary gratefulto him, the student ranks as the most important it at object present, and if allowed, will work away of the supremely indifferent to the remainder group. Another The student from his difficulty crops up here. childhood has been constantlyexhorted by his parents and teachers This maxinl to "do one thing at a time." he is apt to carry out by drawing an'd finishingthe various He has to be taught items in a group after another. one that in artistic practice"one thing at a time" though just something quite as important as in everyday life,means or
different
from
Therefore until he
sees
what the the
is in his mind. student
will not
parts of the group
shapes. Especially should he outliningeach object by itself
make as
refrain without
much tones
from
progress of various
carefully
relation
to
its
probably find it difficult to of the objects in order indications to place first steps in a These desired. drawing as all the teacher's patience elsewhere, demand
down
them
as
mentioned and do
first he
At
neighbour. put
not
Above
all he
will
soot
handling, and
allow
that
of
these
elaborate
be
charcoal, and of tone
Placed
which
be
of
placing
taken
lessly. care-
before
indicated
been
of
refinement
steps
may
ashes
any
is
the group,
near
effect
now
masses
to
attempted, the main tones of the set down firmly,with a soft stick of the student should enjoy the effective be readilyobtained with charcoal. can
contouring
should
group
having
masses
delicacy and
they
notions.
allied with
substance
preparatory
for
allowed
be
moment
a
being a
sketching in the main The
use
not
for
not
must
imagine that charcoal
and
will
pupil'swillingnessto accept admonition, latter's preconceived the accord with
the
and
STUDENTS.
ART
FOR
DRAWING
44
the
drawing should
give the
same
in this
earlystage. The forms of the objects may be attended now to, tion Attenellipsesand other forms being carefullydrawn. should also be given to the flan of the group. It is easy enough to indicate the vertical aspects of things, but the positionthey occupy on a horizontal surface, that is the plan, is apt to be ignored. The student might be required to indicate the plan of his group on a scrap of and to compare it with the actual positionof the paper, of the objects objects. By this means interpenetration tone
even
is detected. In
forms
order one
more
of two
completely methods
may
to
be
express
followed.
the The
surface char-
TONE
coal
may
is well
STUDY"
be
sharpened and the whole worked into the grain of the
laborious
process
student.
The
with
tones
the
a
black
of
dull. the
a
very
often which
should
Just
be
until it
This
paper.
is
a
to
and
requirestrengthening,and the fingersinto a pressed between is used to take out as lights,not alterations
been
charcoal
bread
is
correct
or
errors,
in the earlier stages of the
done
the
as
smeared
now
make
to
the
so
calculated
will
have
forms,
over,
gone
If rubbed, this becomes
bread
shape may supposed,
drawing.
45
disgust an ardent second consists in rubbing in the method specting finger,stump, rag or brush, always redark tone such as that representingthe
darks
pelletof
dark
and
bottle.
Some
chisel
EXERCISES.
makes
implement
an
readiness
with for
shaping
lights. careful edge study. It should be noted Lastly comes that the places where the edges melt into the adjacent demand much tone as study as the definite edge. For black bottle will probably have instance some a part adjacent to shade, and the edge in this area may appear it. All than the tone behind lighter(owing to reflection) this printhe edges must be followed and dealt with on ciple, it yet the study should show the aim with which the representation of a few masses of commenced was "
If these
varying tones.
of the work, the
the progress of
success
The
as
an
exercise
Rosetti, who
exercise
have
in
fallen short
in tone.
pots and
humdrum
to
bottles, and
those wanted
safelybe said that to attempt disciplineafforded by a course
it may the
confused
become
study will
seem
may
scorned
paintangels,yet painting without
have
tones
like to
oil of
46
DRAWING
form
to
and
drawing
tone
failure.
court
in
the
of
means
contend is
brushes
he
has
varying the
rough
sketch
the
stump,
it
does
be
watercolour, 13
on
of
are
examples
Michallet the
drawing
seen
it
palest
delude
affords of
paper,
being
the
still
is
paper,
lucky
no
life
and carried
and
paints,
is
greys,
and
as
far
the
once
to
itself
lends
Also, with
and, Figs,
made this
as
In
may
with medium be
to
unlike
an
approaching
accidents.
that
show
palette,
amenable
deserved,
studies
tion atten-
etc.
at
student
Anything
the
time
expression.
surface.
on
equipment
gives
skill,
complete not
of
beauty
which
by
tone
vehicles,
rag,
manipulative or
his
sented pre-
simplest
study
his
paint
material
and
of
degrees
to
knife,
blacks
of
deal
the
varied
a
implements,
his
simple
a
such
here
are
to
is
these,
as
by
commences
great
a
palette
velvety
most
that
tone
solved
has
with
and
charcoal
who
lines
of
and
monochrome,
occupied
such
some
way,
student
with,
STUDENTS.
problems
simplest
oil
ART
on
The
The
means.
to
FOR
traneous ex-
cellence ex-
unlike
ii,
charcoal allows desired.
12,
Fif-.
12
A
charcnal
stuJ\- \\hich of
a
sIioh's how
far
the
drawing being carrieel. 47
material will allov\'
Fic.
14.
CHAPTER
THE
INTRODUCTORY.
FIGURE"
Students
usually
promoted
being
VIII.
working
from
method,
and both'
the
to
life
also
time
knowledge
some
before
needful,
very
class.
have
they
casts
the
through
pass
before
antique
It
is held
to
gain
facility in
of
human
tions, propor-
that
the
attacking
by
living
figure. That
latter
this
student
command
can
students
young
skilfully, and they human
their On
with
the
other
The
hand
thus,
as
of
of
form, a
by
not
perceive
not
which
god-like
keen
use
their
materials
sense
of
proportion,
for
living figure, in
they
practical
a
person.
the
teachers
art
the
past,
in marble
in
stir his
the. subtle
the
fine
49
a
are
way
antique
of
means
classical
bronze,
or
of
aware
sole
and
whole,
artistic
figures cannot
viewed
classroom,
from
to
express
proportions
and
the
the He
consciousness.
variations
sculptor sought The
as
the
see
architectural
be
must
antique
cannot
them
an
their
3ull plaster does (does
using
student
part from
torn
a
to
though
but
questioned,
acquainted
all
sculptor creatqd
them
see
able
the
equipment
structure.
disadvantages
the
be
the
and
be
not
have
not
may
own
training. as
not
may
themselves,
with
the
need
familiar
are
all the
study requires
living
his
idea
flow
of
of line
DRAWING
so
above
escape
him, and
that he
finds himself slows
counts
for
so
FOR
all the
and
stand
statues
quietening in
down much
STUDENTS.
ART
his attack ; he of fever
loses that touch
in the
of
study
quietly
so
untarily involwhich
drawing.
an ordinary school life educationists postpone until the child mind has abstract study like grammar of in the train to take interest developed sufficiently thought. So it is with art students, who, after working from the livingmodel, willinglyturn to the antique, and for its enthusiasm study it with more profitand more noble qualities than would have been possible to them coming to it without preparation. The problems of the human see figurethey now presented in typicalform, and of proportion which they can more they recognisea canon the great variations readilygrasp, after having observed in a series of livingmodels. to the study of the Coming now living figure, the
In
should
student
understand
that
a
deal
great
than
more
copying is implied, for it embodies aspects of many art study,spacing, composition, structure, and especially proportion. mere
There
are
certain
difficulties which
the
beginner,and these it may be well the anthropomorphic attitude of mind student be already referred to must teacher. The former is likelyto be that figure before him to the extent imitation must
seems
be made
words
the
There
are
all as
important. The like the figureas
student's so
many
power
of
things to
will to
discuss.
on
First
the part of the
combated
by the obsessed by the the necessityfor drawing, he thinks, possible. In other
selection be
surely meet
attended
is to
dormant. that
the
drawing
THE
FIGURE"
is apt to
be
trunk, limbs, etc.,
fingersand The
INTRODUCTORY.
a
to
mere
say
assembling of members, as nothing of details such
toe-nails.
teacher, therefore, has from
drawing recreate
the
figure.
material
a
Ji
These
by the emphasize
accumulation
person
and
point out the aims of not are necessarilyto
to
of
parts,
the nakedness of the especiallynot to do. The to figure,as beginners are prone figure is selected as a specialsubject of study because the nude form more presents problems of line and structure which and trenchantlythan any other material 'directly be
can
before
set
What
should
him. the
teacher
emphasize
the first step
as
in
be answer studying the living figure? The may ! The movement given in a word living figure is of posing in a state of suspended animation, and a sense there must be in any movement positionof the figure. Either the movement the has preceded the or pose, "
latter is about
Beginners
rarelyor
never
If, say,
the
inclination
this.
branch
of
hand, but
an
lumpy as
figureseems this
inclines
the torse all heads that what
or
limbs.
and the
as
eye.
they figuredisplays. the
be
amount
of
sittingupright,
in the pose of the balance order to an
The
the student
and stiff,
seen
upright at
are
is not,
untrained
in
to
of arrested
sense
leans, they diminish
often
drawing
of this
action
Especiallyis
him
be said here
figuresare
that the
which
To
action.
often oblivious
torse
so
obliquityof
into
give as much
nearly so.
head,
are
pass
Their
movement.
or
to
novice
rarelysees
attention.
suffers
from
It may in every
unskilled an supposes, teacher's efforts are The
he
DRAWING
52
FOR
constantly directed
ART
STUDENTS.
the
development of the visual of analysing, judging inclinations, faculty, the power measuring proportions, finding the lines which indicate the structure,
in all of which
Cleverness, akin be
deemed
such if
the
to
ideas
they
a
kind
essential be
must
criticism
then
measuring should corroborate
too
that
to
it
figures,torses
is
figure
can
(fig. 15.)
used
only
be
eye
have be
can
may
of
out
a
school
of art,
of direction
course
Even as
if these
a
plumbing and secondary aid, to
mechanical
suffers and
question of limbs
inclinations
these
directed.
a
aids
loses
movement
represented
or
entertainment,
an
that the main
freely,the the
effects
produces
there.
be
be
be trained.
to
indiscriminatingpublic, but
an
criticism, for
Coming once
by
at
gently laughed
should
needs
eye
juggling,which
find utterance
ever
employed
of
the
lightningsketches
It is to the eye and
to
in
ance. self-reli-
realise
we
through direction. general direction, A
suggested by lines.
represented
direction
at
All and
seated
three
by
are
lines.
Students
a unwilling to commence study in their with such simple preparation generally show lack of vitality and work a they begin by movement; seizing on the forms, and consequently the general idea
them.
escapes
of the
The
mischief
drawing.
No
amount
at
occurs
of delicate
piecemeal, will compensate The whole intelligentconstruction. Too often surveyed at the outset. be
drawn
round
the contours,
proportion and
with
movement.
the
ment commence-
detail, if it
for the
lack
figure should the
the result that the
eye
of be
wanders
drawing
lacks
Fig.
15
"
Sketches
showing the
movement
of the
first lines
or
figureand 53
"directions" its
which
proportions.
settle the
Fig
1
6
"
appearance
A
drawing made with charcoal on Michallet. The and is the quality weight to solidity due as much of the line as to the shading.
of
54
THE
FIGURE"
INTRODUCTORY.
determine
line
a
should
then
student
The
which
on
to
ring figure,this line occurperhaps within the contour, again coincidingwith it. When drawing a standing
build
or
55
the
female
attracted
forms the
breast
and
rich
the
by
is often
student
figure,the
of the and
of
contours
the
with
hips,
result that these
cented ac-
features
aggerated. ex-
are
figure should built on a simpler line,in this a vertical through the pit of The
be case
the
neck
ankle
and
It should
leg. that this is not but
one
pose,
porting sup-
be noted
arbitraryline, actuallyexisting in the in the being traceable
median
again I 6a).
of the
line
an
of
between
Such
the
and
ment commence-
unpopular
student, for it is head
requiresstudious
torse,
legs.,(fig.
simple
a
is
the
with
work,
analysisof
thi an
the
forms. ginner Unfortunately also the behas often acquired, from old habit
method
and of
force
drawing
of tradition which
con^
a
generally
sists
is
even
common
The
case
who
student
be
may has
surprised when acquired it. and
one
fail in Rather
so
Ingres forth.
reproducing set
he
tells him
entirely used
to
If you the
yourselfto
between
did
of
parts, and in
fear
is
of draw
having by
one
the torso, then
the
be bound
to
the
effect.
whole
ing proportionsexist-
gain the mastery
to
this
giving expression to
action, don't be afraid of exaggeration. to
and
wretched
a
would
you
harmony
motion, and
has
"Don't
say
language
a
unconscious
fix the relative
the several
the life and
over
is
of
spoken,
French
in succession, the head, then
and
arms,
he
that
with
heard
his tutor
though
accent,
possessing great facility.
compared never
is
method
vicious
a
scending de-
and
top
reached, that is if
are
Such
students
among
the
at
feet
till the
for them.
room
STUDENTS.
beginning
in
piecemeal there
ART
FOR
DRAWING
56
What
you
have
is lukewarmness."
He should to face. difficulty of seeing on his pupils, and not impose his own way thus deprive them of their individuality, seek to bias nor their own self-expression. A student's feelingfor form stark, indeed may verge on perchance be somewhat may ugliness,to the point of exaggerating or caricaturingthe form, but the wise teacher will be shy of admonishing' such a student, of advising him to look for smoothness^ or character, individuality and beauty, because grace in that strength may be the chief note pupil's future The
work.
teacher
There
of individual is sincere.
has another
is
room
in the world
expression. The
of
art
touchstone
Imitation, posing, conscious
for all
manner
is whether
seeking after
it a
THE
Style on But
part of students
where
the student's
of method is
firm
on
of method
his craft,he
should
his teacher, who
is
The
wanting of
because
of
taught
brush.
In
implements
of
or
put himself
entirelyin
guide
his students
cannot
demned. con-
be
must
of the
use
loudly
materials, the
pencil
a
of the
too
student
hold
to
and
be
cannot
work
ground. how
S7
knowledge
of
or
everything,even matters
INTRODUCTORY.
the
his lack teacher
FIGURE"
of
the hands unless
they
him.
trust
That
introduces
should
work
confine
himself
The
at
the
the
question whether
the model
before
entirelyto
the ofi"ce of adviser
of
exponents
the
or
with
modes
new
teacher
his students,
of
and
or
critic.
teaching,
as
practised in junior schools, incline to the latter view. before his They say that directlya teacher demonstrates scholars, he is biassingtheir vision, is preventing their
seeing the object for themselves, and is obtruding his vision of things to the detriment of their personal own expression. This is very true provided that the teacher's inhibition
above,
out
of
the
does must
relations
not
be
extend
method,
to
taught; but
between
there and
teacher
which,
as
is another
pointed aspect
pupils, an aspect dealing with art
special importance in at the same who students are spending all their hours ing, study. They are apt to be discouraged after long toiltheir be tempted to look upon and consequently may his rounds, merely as critic, teacher as he visits them on This is a real danger, and it is carper and fault-finder. which
is
of
of the teacher in die power he will regard himself not
to as
overcome
one
it.
If he is wise
aloof, in another
sphere.
DRAWING
58 that
of
professional
the
relationshipof
closer
students, but
to
with
work
spiritof comradeship
in the
them
which
pupils.
his
as
is It is
paint and draw before the occasionallyis to exhibit
at
stimulates
once
the class
its best efforts.
to
Again
a
with the
a
carried, much
sulk
good
Velasquez,
methods
should
in it.
has
R.
short,
and
drawing
may
be
should
not
flag
A.
is
the teacher
M.
Stevenson, in
interestingcomments
some
of the great teacher
Carolus
on
which
Duran,
by all students, weak-kneed
be read
In order
a
of his task while
himself
his life of
fallen
has far
that
drawing, showing
the
that the student
the continuance interest
how
ceed pro-
result.
may
willing to the
of
this it follows at
is convinced
exercise, and if the teacher
demonstration
From
to inability
confesses
sometimes
genuine, and works on the pupil's vision ways
what
giving
an
student
is
case
in
or
to
descends con-
brother, who
elder
an
tasks
willing to work at the same certainlydangerous always a
occasionally
who
artist
criticise the efforts of the novice, but
to
much
STUDENTS.
ART
FOR
or
otherwise.
proportionstudents should work at distance of some the model. Then the a yards from natural tendency to draw sight size can be utilized. By holding up the drawing alongside the model (fig. 17) the be checked proportion may effectually. very Students "to to
to
secure
should
be
never
admonished
fairlyfill the paper," because the
natural
scale
travelling,as it were, direct Sickert
road has
to
of the at
the
violence
drawing, same
the
rate.
was
the method
large,"
is thus eye
This
good proportion, and,
pointed out,
"draw
to
as
done
and
hand
is the
most
Mr.
Walter
of the masters.
THE
If the
drawing finer
a
is too
INTRODUCTORY.
small
the student
treatment, use
FIGURE"
in scale to allow
should
drawing should
length.
Students
that the lower with
a
A
half
consequent few
go
nearer
of
the
adequate model
or
point.
Fig.
The
59
words
17.
frequentlyviewed at arm's often hold the drawing too close, sa of the paper is practically out of sight, detriment to the proportions.
may
be
be
said
on
the vexed
question of
DRAWING
6o
Some
backgrounds.
of
This
present.
figure of
it
backgrounds
for
is
line,
merely
not
other
study.
of
is
isolated
tone
of
background the
in
remarks
the
on
should
Edge
by be
can
aspect
Study.
than
considered
graphic photo-
with
as
of
art
ground back-
but
existing
show
line
degree whether
general in
detail
this
by
expressive The
the
tone
its
;
as
of
tion. atten-
side
purpose
use
will
lighter is
that
drawn
the
of
studying
suggested.
treatment
or
high
be
for
edge
This
its
the flow
the
figure
the
from
share
for
of
from
space,
darker
is
figure.
it
background of
emphasis
it
that
"
the
studies
degrade
to
he
devised
view,
structure,
with is
be
mistaken
a
their
nor
the
may
drawing
concerned
be
that
tone;
demand
not
can
tone
imply
not
itself
make
in
figure,
the
exercises
To
does
is
but
study,
etc.,
student
is
contended,
complete
indicate
accessories
exercise
an
shall
any
tone
composition,
aspect ;
be
must
imply
The
such
with
for
zeal
their
in
students
their
background,
the
STUDENTS.
ART
teachers, that
insist
expression, tone
FOR
of the
tone
in
of the
CHAPTER
FIGURE"
THE
The
trick
there where
flounder
clearly
that
a
cleverness the
study,
form."
not more
less
form.
they
a
a
and
eye
rigorous
intellectual
Drawing
legerdemain, de
tour
a
Of
study.
judges
handling,
and
others shows
art
prevented
not
course
ease,
of
history
a
fqrce
students,
seeming
good
of
master
by
what
is to
say
from
men
exhibition
the
removes
painter
a
that should
be
which the
called
mastery
to
make
with
track
of can
figure 6i
a
down
will
by
form, be may
pencil, the
does but
this,
facility,
give
demanHall
needing
brought
to
divided
by
subtleties
exercises
and
be
"search
the
understand
students
trained
attained
technique
over
practice
mere
scrutiny
capacity from
to
been
contours
been
has
drawing
has
efforts
painful
suppose the
the
smart
It is difficult
whereas
ing
But
by gaily tracing
or
for
of
That
come
with
the
place.
facility
close
of
or
of
opinion
fingers,
task
a
FORM.
facility among
among
of
and
kind
a
facility has
while
highest
The
for
of
want
fame,
achieving
from
of
fail.
general
trouble
no
degrees
or
is clever
accomplishes
one
may
by
with
FOR
the
drawing
done
varying
are
SEARCH
shares
oiEE lightly with
thrown
of
often
that
public
conjuring
of
THE
beginner
outside
IX.
the
bear. into
two
62
DRAWING
FOR
STUDENTS.
ART
types of exercise.
One, very important, is the time sketch, recording the main facts of the figure,and varying main
the method one's
at
by
Such
pose.
searching
more
which
indeed
sketches
only
far he
with
expression of form The
strokes, allows
and
of the
have
To
Charcoal,
mention
or
been
the
be
nor
aware
words,
upon
ally. gener-
redundancy of
to
Further, is
stump
neither
in this kind
it,for
condemn
to
definite stroke.
a
elsewhere, supplies the best
particularkind
full range
a
agreed
in breadth.
broad produced with ease well pointed,lines can when
to
student
in this detailed
engage
point leads
be
It has
to
more
for limited
of himself,
sure
not
indicated
as
for this
pencil.
The
technique necessary
tentative
incapable of making
weapon
sketch.
the
at
scale, and
which
pencilor crayon is wanting
of exercise. it is
arrive
to
can
materials
as
expression of form,
time
be
not
character
requiressupplementing
small
a
deals
his scrutiny. In other pursue really learnt \o search for the form.
not
The
on
sketch
time
line, and
student
of the
periods of time, will he has
the
detailed
the
the time
according to
of
work
and
enables
methods
summary
of how
search
flow
movement,
in the
who
visual
disposal. Generally
mainly with shown
and
With
of attack.
of tone,
masses
be drawn of tone
and
it
can
also,
finelyas with
as
from
a
velvety black
palest grey. Figs,
io,
other
square
measuring suitable
etc.,
drawn
with
charcoal
on
Michallet
the sheets of which, grained paper, 19" x 24", are of the dimensions most
about
for normal
it is difficult to
were
eyes.
If
one
keep the whole
draws of the
largerscale drawing under
to
a
^"^UJ^
M
Fig.
I
8
"
A
charcoal
itscompletion. An
drawingmuch
exampleof has been
rubbed
and
otherwise ill-treatedsince
edgestud)-.Every inch studied. carefully 63
of the contour
p,f,^ in the
,g pose
This
by
all its defects, shows
drawing, with the student
and
a
determination
to
secure
a
great an
interest
taken
of expression
it.
THE
FIGURE"
SEARCH
THE
FOR
65
FORM.
proportion, and in gradation of accent, are Even if drawings, say for a apt to occur. be decoration, were wanted, they should large mural drawn first to this scale, and then enlarged by squaring life drawings by other method. There or are some surveillance, and
errors
in
Albert
South
Kensington,
Moore,
nearly so,
but
at
the method
does
not
full size
drawn to
seem
or
pensating com-
possess
advantages. elsewhere. indicated The as procedure is the same of The student should, as always, mark top and bottom find the main line from head his drawing, and at once to of the figure foot. Next follows the general structure of dark with a plan lightlysketched in of the masses ing It is at this point that the proportionsof the drawtone. coal should be scrutinized,and if found wanting, the charstrokes, which be
can
obliterated
first should
at
with
a
few
be
flicks
lightand of
delicate, It
duster.
a
emphasized too stronglythat this stage is most crucial,and tests severelya student's powers of selection and how hours analysis. The drawing, no matter many tially or days are required for its completion, will be substanin proportion, and general scheme of light and Hence the importance (dark,what it is at an earlystage. of self-criticism,and if necessary of beginning afresh. cannot
No
The of
over
be
alterations time
for
should
of moment erasure
has
proportion reveal they convict Hints
passed, and
themselves the
his first steps, and
foundation.
then
on
be made
student
as
of
at
a
late stage.
if great
errors
the
drawing progresses, heedlessly slurring
on a failingto build further procedufe are given
of
sure
where. else-
66
DRAWING
With
regard
drawing
of
Michallet
(Dn the other to
hand
these, it
seems
however
important.
indicated
forms. a
order
be used
is well
arily prim-
focus
to
it be
can
and
grounded
his attention
deal
great
figuredemand
extremities, and show
them.
on
from
involve
Poor
the
done,
consideration
drawings
of hands
lack of construction, and
and
the
as struction con-
of the
least construction
at
in
detail,
on
elsewhere, in showing that the action and of the
mass
A
feet
proportion,construction
distract
figurein
such
and
spent
figureshould
of
pity to
a
lines of the
main
shall be
until the student
and
hands
head,
the
the nude
schools
some
certainlythe difficulties
time
give rightnotions
movement,
In
full size, and
that considerable
coal feet, the char-
and
gives opportunity for
paper
constructing properly
pemand
STUDENTS.
in detail.
out
made
are
ART
extremities,hands
to
on
iworking these studies
FOR
of their
feet
of articulation
always
with
the
limbs. Studies
from
the nude
in appearance
innocently)doing (duce
a
naked
because
the wrong
person,
sometimes
are
the
thing.
making
a
almost
student He
sort
of
is
graphic porno-
(quite
tries to
reproinventory of
fingers,toe-nails,etc^ physical characteristics,so many Such drawings usually lack the higher interests of the of light figure,the flow of line,the rhythm of the accents and dark, the unity of the long line of shade running the figure and revealingthe "cubist" typicalshape. down These
things sought after, the student
wrong,
no
matter
how
much
he hankers
cannot
go
far
after realism.
Unfortunately this wrongly realistic drawing has in
THE
FIGURE"
the past been has
been
rewarded,
honest
students
evince
they put
in.
Another loss of
and
evil
SEARCH
by
looks
One
often
student
they
the
omit
insistence a same
than
on
figurewith weight of
in character.
over-elaborated, while
has
6j
FORM.
ground that the student
sees
monotonous
masses
fussy and gives an
model
what
resultingfrom
details,all of about
the dark
the
on
FOR
which
sincere, qualitieshowever
rather
rhythm.
shaded
The
THE
by what
realityis carefully tone, and
The
reference
drawing to
the
impression of simplicityand breadth. been too busy to catch the rhythm of
the
referred darks have been to as modelling. The and accents, certainlytone rhythm is akin to that of music. The figure,perhaps, has dark hair, the contrast between that and the white brow giving the strongest
Lower,
accent.
is weakened,
on
be
the face and
neck
the accent
of dark
the
armpit, while the shade the torse and lower limbs again on areas diminish ebb and in strength an flow, or rhythm throughout the figure, giving at once varietyand breadth. This supplies a method of procedure. The main masses to
strengthenedagain,say,
at
"
of middle
should
accent
be
struck, the
stronger
and
following in their places, and keeping of has been made the their relative pitch. Mention make between (division students drawing and arbitrarily shading. They often show that they do not consider shading as drawing. They work away laboriouslyat
weaker
some
accents
dark
patch without
varying contour, use
is
or
indeed
of their darks.
expressing structure
exploring its borders, its without consideringthe structural
ever
Shading is only useful where it: It should and revealing form.
68
be
DRAWING
FOR
busy, that is giving
ART
STUDENTS.
due
emphasis to the line of which emphasizes the meeting of the planes. Form is expressed by light against dark, and form
should
Shading
be drawn
without
bricks
into
and
drawing
then
be backed
may
be
field without
a
this
by shading.
up
with
compared
attempting
shade
ing bring-
build
to
with
them. As
pointed
into
two
and
forms
In the shade
subdued.
the crannies
affords
drawing shows be
may
the line of
have
what
is
abundance
has
that the eye
applied
to
been
happens
of
the
not
of
focusing into
pore
forbids
it,while for
opportunity
finished
fullyexplored forms
meeting of angles, such
it meets
the
quiet
are
to
of
lighting
the would-be
edge.
its shade
brought together
at
normal
need
no
planes
are
conditions
for Nature
area,
armpit, where
lines may
usual under
Often, however,
searching study.
the former
the eye, the forms
There
unity.
divided
seen
equal distribution
an
of the dark
light area
the test
from
Hence of
which
area
removed
is destructive
but
object is
any
In lightand dark. under sharply defined
is the further
the
elsewhere,
areas,
lighting. and
out
junction?
in
as
The
fashion,
some
What
;
is the
actual
shape of the dark these unless be and
full
of
shade
reveal the
he
ask self himpatch? The student must questionsas he approaches such passages, for exercises a vigilantscrutiny his drawing will observed insufficiently shapes. Lastly,light
the
closest
Velasquez, marked
is not
does merely utilitarian,
forms, but has attention. we
are
If
beauty of its
a we
conscious
series of beautiful
not
look of
passages
say a
own
at
subtle of
serve
an
well
only
worth
interior
yet
light and
to
by
clearly shade,
i
Fig.
20
"
An
unfinished
drawingshowing the varyingtextures.
use
oi eharcoal
in
expressing
";' ;?m;^.--r':-^:--^^^
Fig.
2 1
"
Dr.ivNing with charco;ilon 70
Michallet
paper.
THE
of
FIGURE"
THE
SEARCH
FORM.
FOR
71
rich
velvety darks against liquid lights, or of light He edges melting mysteriouslyinto background tones.
showed and be
how
us
look
to
the
seeing eye discerns finer,for example, to be
of trees, than
the
before
a
the flesh
tone
it
such
the
enhance
to
of the
subtle
The
these and
clump
or
dark
a
can
ting cut-
spray
constantlyvarying
tiful Equally beaunude figure posed semi-translucencyof
scene.
in the
quiet background. seems
in
passage
passages
What
wood
in any
lightwith
examines
in nature,
tone
everywhere.
seen
in full
some
the eye
as
are
trunk
it,or
across
sequence
a
beauty of
the
at
contrasts,
varied
and
effects
presents
that
light in strong tone reveals. An arm against a gleaming knee chest, or the darks of a hand or against a thigh fullyilluminated are things to wonder at, and not merely because they are strikingexamples of the relief of one form call the stereoscopic against another, of what one may but because beautiful they are appearance, of lightand shade. students' To judge from passages They say drawings they sternlyignore beauty of tone. some
in
most
effect that
they
are
not
to
be turned
aside
from
their
^
purpose,
which
and
proportions, to
the
express
is to draw
the details.
the model,
they omitted
fail to
see
being, to fix the
indicate
the
of tone.
But
shade
them,
an
and
structure,
he
to
to
be
part of their
finds
ignored
are or
essential
Shading, to them, consists stripingor stipplingtheir study with beauty.
pose
selecting from they really were would be delighted,even though
he considered
training,the study effects of light and students
human
If
the teacher what
a
tha;t these because
attracted in tone,
the
by their
industriously monotonous
full
yet (dark
of
the
the
too
of
variety "invisible" away,
dark
a
in the
in it;
they give
the
perceive
the
not
outline
the
sharply against
comes
do
the
melts
edge where
light, or with
figure in light contrasts
their
follow
trenchant, brilliant
the
hand,
fail to
they
nor
where
places
"
do
they
^while
light
the
in
lights
many
patch,
for
the
of the
contour
shade
other
the
on
darks
edge,
spots,
nor,
where
the
its
too
drawing
no
of
boundary
STUDENTS.
"
many
often
has
ART
variety
wrong
and
areas,
shading
the
FOR
DRAWING
72
darker
the
background. On
other
the
hand
subtlety generally form
figure. the
against
to
except
keen
a
of the
tones
though
line,
some
in
Students thick not
black
perceive
perhaps
on
the
faint,
the
a
drawing
paper,
do
of
delicate
the
realize
not
implement a
hardly
thigh
by
of
6
draw
B a
is
the
line
as
clear
thigh.
edge
a
as
they but
do
also
different
sities inten-
of.
They
capable
pencil, if
a
is
delicate
a
passage, the
visible in the
near
of
a
seen
is there
of the
plane
of
knee
track, partly because
cart
A
knees
expressed
this
well-lit
a
of the
sharp edge
upper
that will
be
the
refinement
they
and
border
a
edge
must
by
the
like
understand
right
the
represent
because
their should
line
top
utmost
illuminated.
little difference
so
cases
often
and
the
where
areas
thighs
thigh presents
suggesting
tone
the
thigh
thighs, yet
two
of
passages
similarly
of
near
eye,
there, and or
another
The
further
are
lighter
is that
example
common
the
in
against
comes
seated
there
used
lightly as
delicately a
6 H.
CHAPTER
THE
The
doubt whole
sketch,
of
course
The
for
study
be,
may
of
the
directly,
in
without
erasure.
point
a
itself
of
has
limited
time,
his
weakness,
also.
It
stands
in
careful
is
and
judgment
drawings,
produce, searchings
are
for
form
test
which
more
his to
student's
be
not
less
or
73
personality
the
his
tentative,
and
drawing,
there
are
drawing,
much
ledge know-
governing
teaching
days so
The
judge.
any
previous
taken
under
practically
artistic
a
ledge know-
impressions
his
in
make
to
exercise
principles
profit by
"
the
they spond corre-
of
observation,
the
have to
seen
now
the
and
as
They
therefore
embodied to
the
down
his
of
failure
on
set
plain
are
simple
a
in
result
trained
structure,
prolonged
but
and
paper
plastic representation, his
to
the
has
of
antique
accumulation
slow
student
he
and
the
experimental.
the
the
of
means
laboratory,
on
which
to
by
and
In
is without
called, exercise
testing
vigorous
with
science
discussion
exhibits
form,
tone,
somewhat a
and
be
to
come
study.
deliberate
are
in
vital
drawing
search
life, the
it has
as
really
the
SKETCHING.
TIME
FIGURE"
time
X.
but
study.
and
weeks
drawings though
it His to
as
with-
FOR
DRAWING
74
disciplinehe would
their
out
As
portions which to
the
seem
the
occupy
wanted here
for
"Science students
having
dead
same
of
much
serious
fever
and
on
where
all parts of That
any
continuous
a
is
but
it is
point in his he deprecates drawing to the this
condemned
also true
also
other, is bound
that
a
include
to
It cannot
study.
made
be
may
of ecstatic but
study is perhaps best looked
art
all be
at
as
a
pleasure,with interludes
nevertheless
accept
the
above
favourite
play the to
"
temper
upon
long, vigorous pastime, affordinga few
a
game,
own
drew
heat.
Art
"
Alfred
true
Reference
pages,
study, like
art
that
comments
of finish.
in these
which
often
Making,"
work
to
level
emphatically course
Holme's
Picture
of
those
fragments, but accumulating facts they
others
particularjob.
C. H.
Mr.
to
a
about
interesting, or It is
studying, but
not
were
most
paper.
Stevens, Leighton and they
be drawn
figure always, not merely
whole
and the sight-size,
figureshould
the
suggested above,
chance
the
ill-prepared to
come
exercise.
direct
more
STUDENTS.
ART
game
hold
under
sport
a as
a
"
and
have
observe
the
on,
to
as
will
descriptionof
their
such
it is necessary
to
the
sporting temperament rules,and to keep one's,
all circumstances.
Therefore, given the essential condition that
application
sportsmen
many
pretty close
pursuit. And properly,to
of close
moments
of the
cise, exer-
figureis to be doing something, standing firmly erect, sittingpassively,or lying prone, it will be that there is no hardship in indicatingthe whole of seen the
the
figure. The
sense
of
proportion
is the
more
fully^
THE
exercised, student the
FIGURE"
and
also
should
extremely important that the the pose nearly always demands
representation of the whole
clearlyin
the
should
brought
be
erect
75
it is
that
see
SKETCHING.
TIME
It is necessary
pose.
down
the feet
to
is shown
figure. This
that the
that these
"
lines
shall be
clearlyindicated, so that the figurestands firmlyand with How
weight.
often
does
one
students, standing figureswhich blown
with
over
In many
the whole
of the extremities.
the
on
drawing
often
paper shows
is the absence Another
to
line is shattered
Further,
of
proportion by the proportionsof the paper the
occupies the long;
if it
often
proportionsof long way of the
allowed the
drawing.
paper
occupies the short
to
way
of
the
the
opposite direction.
rules the better,but
one
at
first be
settled.
come
by
division
The
figurethe
first lines not
lines of direction.
the refinement Next
of the
sense
dictate
and
If the
figure
drawn
too
it is
paper
The
fewer
that in
mencing com-
limits shall
extreme
the only suggest and the placing.
they also fix the limits the main facts,the essential structure,
movement, Then
drawing
least is necessary,
of outline
should
No
is
the inanimate
"
it is often
disproportioned in a
there
biassing of the student's
of
dominate
drawing
by
extremity for which
an
is the
is
by
is
room.
which
be
float ?
no
sheet
could
obliged to -place it,to see nicely. The effect of piecemeal itself very plainly. A glaring
figure,the student
it goes
instance
almost
seem
of
drawings
which
sway,
composition of
the
cases
the omission
that
breath, or
a
in the
see
attempt
be made
at
at
pressed ex-
detail
or
this stage.
establishingof the chief planes,the
comes
the
of the
figureinto
dark
and
light,or rather
the
76
DRAV/ING
FOR
STUDENTS.
ART
determining of the edge dividing these edge again should the actual
as
that of the
"
difficult for the novice, obsessed of the be well
"shading"
Fig.
as
its
by
use
student
the
line
grasped
as
a
must
first be
this and Fig.
22
it
seen
as
the subtleties shows
to
the form
so a
contour
plex com-
from
light. The stage is sion divihe is by his own shading. It would dropped altogether,
to
cause
confusion, the
shading of details. follows a parallelcourse
mean
the
"direction," which line created
a
quite as
This
22.
tone, however,
bony contours,
were
is apt
expression. As
into the subtle and
teacher
understanding
Expression by with
as
study into drawing and
if the term
it is
being indeed
contour,
point of view
another
for simplified,
be
planes.
contour
first
must
later will
be
be
resolved
by the overlapping of muscular shading or expression by tone
plane without variation, of edge being left to a later stage. divided into two planes under the mass
or
THE
influence
of
trenchant
way.
because
sunlight,which Study
take
darks
lose
out
maps
of the nude
the
of
77
All
this
figurein
the
sunlight is valuable
in
tones half-
the
Also
planes.
dull, sooty qualitythey
in the studio.
on
SKETCHING.
TIME
of this clear division and
to
FIGURE"
apt
are
lucid
is definite and
out with-
blackness. Students
often
spend
shading while oblivious as
variety of
great
directions The
and
being
set
This
thoughts, for alterations,the
on
the
student
general build of
work
in
backed
by
up
later.
worked
over
the
for second
of the
each
from
subtleties
to
Next
line is drawn
the
referred
contour
influence
and
of the
set
lines
comes
in
shade
detail
background
stages the figurehas
on
worked
been
foot, and the resultingfinish is not that
and piecemeal tinkering,but of rightmethod treatment by logicalsteps. Further, the method that the interest is sustained the
then
edges
artistic
of
often
out
giving general
and
to
late.
figure.
of these
head
the
of
too
his steps and
figure. The
of direction
stage will be
next
adjoining tone. the edge study
at, and
the contour In
the
comes
The
a
alongsidethe
is the stage
retrace
now
expressing form.
Lastly
are
should
be held
simple indications, the structural
these
of
in the contours
in its essentials
out
plane, the drawing should
The
just
tone,
accompanied by neglect of
be
for self-criticism.
model
of
proportion.
figurenow
and
hollow
and
drawing of the figuremay
minutiae
on
generalplane of
the
to
curve
time
much
ensures
during the exercise.
student, after completing the
head
or
Too. other
DRAWING
78
ART
FOR
STUDENTS.
remainder
turns to the interestingpassages, akin to disgust or weariness.
Of
above
suggested time ten
it is not
course
allotted or
a
pose
may
a
left with
if omitted
force the students when
they
his
impressions in
for
a
hours'
be
The has
at
be
to
kept to
20
order.
session
In these
have
must
to
30
attempt the
is called
time
fragment.
a
beginner requires from two
supposed that the method adopted continuously. The Quite short poses of vary.
suggested above
stages
even
be
thing some-
be
whole, otherwise
a
themselves the
should
five minutes
even
figureas
to
to
with
they find
brief attempts but
compressed,
in mind.
minutes
As to
a
rule down
set
following arrangement any
rate
the
with
met
approval of students after several years' experiment. First a sittingof forty-five minutes, followed by ten or fifteen or
minutes'
the
time
same
of
remainder minute
poses,
engender
a
the
given
to
being
excitement
of twenty
pose
exercise.
memory
a
minutes
with
taken
last
which
makes
ten
or
because a
The five
they
longer pose
slow.
Referring again
First
made
to
question of movement,
the
tion men-
theory of Dynamic Symmetry It is not proposed set forth by Mr. as Jay Hambidge. discussion of the theory here; it will proto enter on a bably provoke much discussion and controversy, but tw" points of interest in drawing from the life arise out of it. may
be
a
sittingis occupied
these
certain
dull and
seem
Next
rest.
it would
than
a
appear
that
a
maximum
amount
of
ment move-
within figure is contained If the rectangleenclosingthe figureis narrower the action subsides, the figureshuts up square, obtains
square.
of the
when
the
a
as
THE
it
a
If
were.
FIGURE"
the
the
square,
which
to
is
within
important
that
points
rectangle. points
the
by
other
the
diagonals
If action
hand of
a
other
maximum
is
and
than acter char-
lines
oblique
pass
weakens.
widened.
rectangle
of
directions
flags
wider
creeping
enclosing
and
the the
is
rectangle
the of
give
79
partake
as
division
be,
the
to
emphasized
may
SKETCHING.
on
begins
the
it
important
rectangle
action
Secondly, whatever
TIME
movement
to
less
CHAPTER
XI.
RELATED
the
When some
of Too
often
out.
For
do
not
in
real
and
been
is
rhythmical, so
and
meet,
shoulder. or
the
lines
of
gestures in
heads
The pass
varying
laying
a
speakers
are
to
one
80
a
all
the
more
the Two the
conversation,
hand
creates
consciously
degrees.
the
on
establish
which
from
in
dancing,
unstudied,
are
incline
movements
union
and
a
another.
now
other's
sympathetic
unified
not
a
gestures
In is
they
people
their
line
from
if
even
watch
them.
and
because
not
we
intercourse,
why
so
constantly
the
emotion
their
wonder
When
in
year
figure
will
pression ex-
exercises.
a
remain
between
and
These
form. and
ordinary
speaker
bond
then
and
movement,
also
earnest
more
link
movements
expresses
people
line
in
but
because
line
of
art
a
take
They
cinema,
form
the
and
happily.
the
appropriate other
they
with
figure
a
single figure
together.
in
or
the
isolated,
crowded
and
devise
to
at
draw
to
line
others,
seen
movements
which
add
together
life
of
compositions
book,
are
learned
time
plod
their
come
number
it is
students
have
they
has
proportion
detail,
sketch
their
pupil
of
sense
FIGURES.
and two
In
but a
trolling con-
one, more
.^/""'
", -J
"
4)i4%N
1\ \
"tei
.
~-"S3k2.;-,(^Q
V,
X
.^r I',
"
-fe'tJ *^-""sr^7^,-j""
:
F"ic.. 23.
'-"7
#
V.)
Fig.
24
"
A
chalk
conlinucel together,
drawing hv One
the
li\ Wattcau. lines
alniojt
'flic
lines
of
the
arms
flow
drapery on the lady'sshoulders. expects the lady to rise. of
the
82
RELATED
obvious
case,
FIGURES.
figurebowed
one
83
in
grief, and
the
other
bending sympatheticallytowards her, the lines flow in together so obviously that the idea of consolation is complete without the necessityfor appropriate sorrow facial expression. The lines of the figuresexpress the emotion. In
such
exercises
for at
sought
an
first
then
seeing the be looked
must
In such
for.
(fig.23
associations
be drawn, and Two a
The
a
the variations
given
in which
cup
round
knees
the Or
the face
follow
the
again they form
be
useless
to
is
eye
combination
The
25). figurespullingor holding as
and
arms
hands
one.
entwined
arms
controllingline. of
feet
the
should
be
position. Attention in the figurein grief which is held, or where clasped shape of the latter, (fig.
in their
the hands
to
must
other, for the
standing with
or
relations
be
the
hands
sympathetic
should
23).
the two
of the
and
than
worse
by the united
good instance
noted, form
"
two
as
figuresseated
furnish
It is
figures detached.
hands, the lines formed must
controlling lines
earlystage. figureand then
'draw
one
these
a
bowl
when
they
are
used
to
'drink from. These three
few
exercises more
minutes, Such
to act
emotional
A
need
to
will be
wait
of
for professional
ready, for
a
their parts.
will enable
work
by combinations
be followed
figures. There is no models, for pupils in turn
or
whether
may
the student
gestures and
to
face the
combinations
scious uncon-
of real life,
sympathetic or antagonistic. friend
once
told
the
writer
that
when
making
DRAWING
84
Studies
for'
violent select
figures space
locked
posed of
the
the
to
wrestlers
into
the
shape,
could
sketch, be
examined.
wrestling,
had
a
the
so
time
only
indicating
suggestion with
Afterwards,
legs. fit
in
perhaps
with
together,
between
of he
that
pyramidal
say
STUDENTS.
compositions
movements
contour,
a
of
series the
were
models detail
a
ART
FOR
the
structure
to
the
of
the
of
aid and
CHAPTER
XII.
EDGE
If the
white
a
ball of
contour
The
being Then, into to
the normal
of
or
solidity
by
noticing and
searching It
for
achievement sense
of
of
the
portraits public frames.
to
but
be
discussed
But For reveals
the
be art
the
natural
almost
poster
everything,
which
on
those
The which
has he but
difficult
to
students
to
to
uses
flattens
whether of the
the
the
learn
the
the
broad
it also.
the
losing
is
object
really
out"
"coming
student
lighting,
is
stage
point
artistic. are
of
roundness
on
This
this
the
plane
or
exist
to
contours.
to
the
melts
paintings
are
at
relief
galleries to
for
dark.
ceases
following is lost.
ground back-
contour
take
to
grey.
the
and
or
accustomed
necessary
declares
light
Drawings
outline
of
also,
light
relieve,
that
against
tell
the
by
such
the
in
weapons. which
made
so
background,
grey
disappears,
14).
flatness
is
'depicted,
where
form,
hardly
need
tell
between
(fig.
the
a
will
outline
represent, not
will
side
appearance
where
to
dark
the
be
only
can
side
points,
one,
before
midway
sight,
objects
see
the
two
dark
placed
light
tone
a
at
be
the of
contour
STUDY.
vulgar
admiring of
their of
use
all
outline In
these
DRAWING
86
the student
pages
ART
FOR
considered
is not
strivingto acquire a mastery by know
far he
can
will prove
Experiment the
whole
If the dark
figureis
all in All
results.
lightand
shade
with
the
lightwithout realistic
from
made
of this
use
In other
that whenever flatness
a
lightbehind the
spectator
shadow, and
again
have
painters
melting of words
a
used
a
the ness flat-
strong
and
the contour
continuous
results.
it,it shows
Caravaggio onwards,
,
points. an
student
clearlydefined,
viewed
ment move-
of realistic treatment.
the
to
as
do this he must
to
flat;if the light is behind
and
figureis seen
have
is
contour
and
in the way
go
and
structure
over
but
composing,
as
of the appearance,
means
how
STUDENTS.
all such way the half-
at
outline
implies
incompletelyexpressed figure. This
paradox suppliesthe clue to the study of form by light and shade, in its simplest terms. The
placed
object,whether before
in nature must
one
in
smudging The
background midway
in
the half
to
tone
between
tone
be the
tone
of
object. Now
Yet
livingfigure,should
or
dark, that is, equal in
light and the
a
cast
outline
backgrounds
line takes
its a
tone,
only edges. be always
"
cannot
one
in order
to
reveal
part of the object,nor
degree of background.
line the
a
outlines
no
imaginary line sensed
an
the
by
are
outlines;
use
is not
but
object and
there
contrast
This
tone
contrast
varying in intensityor
even
form.
of the background,
by the in
the
eye,
and
between can
presenting re-
the
be represented
width.
The
less mechanical ground backor place of a more and gives opportunity for close edge study
EDGE
which
is
insisted
87
STUDY.
practically absent
backgrounds
where
are
upon.
From
the
character
possibleto
determine
can
looking at
see
on
of
the
of the
the tone
be One
background.
that the model
18
fig.
it should
outline
posed
was
ground background, although this backis exhas been omitted pressed intentionally. This by the strength of the line where the lightfalls of that part of the the contour, and by the softness on in shade, which contour approached the background so nearly in tone that a clearlydrawn outline would have before
low
a
toned
falsified the relations. To
backgrounds
put
livingmodel and
is to waste
behind
studies
better spent
time
antique or edge study,
of the on
confuses
consists drawing with painting, which in spreading tone. essentially Drawings by students who overlook this principleof effect. expressive contour, have a vague indeterminate The of the lightside is often drawn contour timidly and faintlywith the mistaken notion that any line on that side is too
dark.
round
the the
draw
Or
In
contour.
figureby
environment,
still,a
worse
this
itself
which
as
case
hard
line
is
students
if it could
is unthinkable.
are
drawn
all
trying to
exist without
Expressive
an
ing draw-
All implies not only the figurebut its background. other drawing is mere diagram making, very necessary at times, but alien to the aim in this connexion, of realising the figure as student-like completely as direct and methods
will allow.
The
place
old way a
white
of screen
simplifyingthe behind
the
student's
object.
task This
to
was was
supposed the
trouble
any
regard
in
forced
furthest
from
behind
forward
him, though
reflected
for, and
the
the spectator
of the
is determined
contour
the
spoilingthe
been
ening the black-
the
lightfalls the
lightside being and
pose,
of
effect
the
allow
taught to
of the pose
important,the emphasis way
was
it not.
saw
destroyed by
was
right). Also
had
though they
by the
on
or
destroyed
students
most
emphasis
this
(becausegenerallythe lightis
contrast
light,which
Lastly,and
that
show
shade, which
in
contour
the left
to
edge by
still did,
will
First, the glare of the background
the exercise.
unduly
thus
from
consideration
moment's
a
ruined
the
student
freeingthe
drawn
of the paper
background.
But
this
STUDENTS.
ART
represent the whiteness
to
thus
upon, to
FOR
DRAWING
88
figure,and
the
on
white
background, ineffective,
rendered
making
unity of
treatment
impossible. Another
feature
is the 'dark
the But
edge of
solidityor
for if eye
is
looks
one
from
should
should
the dark
follow
not, when
?
be
to
to
the
tioned men-
lightand to
as
beginner looks
The a
line
compassed a
at
accordingly. in that way,
flower
the line of shade
that is,the eye in
be
painted so
object,as
round
any
of the
or
puts down
is not
mass
Hence
contours.
student and
object,and
at
drawn
of the form
naturallyattracted
lightarea the
an
should
edge, both
shall it be
the volume
express
edge study which
of the
nature
How
areas.
of
pot, the
dividing the
forgetsto
look
at
representing solidity,the action
drawing
of the
the contours
unbiassed of the
eye,
object,
EDGE
look
directlyat them, will at
contours
Here
one
comes
controversy art
schools
of
and
especiallythe
important and
very
draw
to
a
he
these limitations.
has
agitated
student
he
sees,
to
student
has
he finds it
is
follow
worked
at
quite impossible
to
of his materials,
conventions of
ing interest-
the
what
before
limitations
restrict his efforts,and
;
blur somewhat,
and
already mentioned, which all periods. Not seldom
this advice, for the
argument
of focus
a
upon
implored to be honest; nature faithfully. But a drawing five minutes follow
these
but at the line of shade, when fall out
once
89
STUDY.
pictorial representation,
will be
wise
Honesty
one
it is for greengrocers,
not
to
try
stand under-
to
rule out
can
of the
for artists,at least
in this connexion. The whether
immediate he shall
problem before emphasize the edges
the result that he loses the effect of
appearing as
if cut the
on
of card,
out
volume
of
the
is
of his
object,with roundness, the object
whether
or
student
the
he
shall
centrate con-
object by blurring his
and Netherlandish edges. The primitive Italians their paintersadopted the earlier method, and we see work flat in spite of much to be essentially pains taken to
model
followed
the form.
Leonardo
him, have
chosen
da to
Vinci, and the
accentuate
If the Venus by blurringthe contours. the National Gallery be examined, it will of the
contour
and
fro
cheek
that
the
and
shoulder
has
those
of be
been
who
roundness
Velasquez seen
in
that the
brushed
to
edge is almost lost. Sir Joshua Reynolds often made edges wonderfullyenveloped. Early portraits(three-quarter view),however, show the hard edge of the further cheek; consequently the so
DRAWING
90
weakened
nose,
face.
by
If the
hand, the
at
nose
lines
from
contours
be
which
translated
form.
The
moral
of
form
modelling Extreme
the
to
by teachers, the
Fig.
1
consist
in
of
the
marked
always
that
eyesight.
disadvantage
a
he
Jupiter with
be
Students
interest to their outline
the
of
contour
unvarying line such
contours.
Holman
often
by
produced
that the the way
wishing
to
accentuate
tinguish dis-
eye.
figure need
is
as
noted
naked a
We
Hunt's
like that, for he could
saw
It should
in
to
consideration
into
taken
in
success
keen
on
sight is often
of the line is conditioned on
be
depend
that the
8 shows
piece of wire.
drawing
was
the contours
to
powerful sight of
moons
an
show
seems
not
not
pictures. Doubtless the
he
because
sight is losing its first sharpness.
whose
result
forward.
comes
canvas.
of
and
by the
providing himself with exact drawn were to paint. His portraits exact painted ones, and he wanted
does
students,
covered
be
of
all this
keenness
young
or
Holbeins
Windsor
by tracingon The
into
cheek
the
hard
are
pressed against the
appears
relieves
once
the definite purpose
with
see
of
STUDENTS.
ART
contrast,
contour
Holbein's
to
FOR
not
by
a
ness expressive-
the
light falls
give variety and it in
an
arbitrary
ence especiallywhere bony forms crop up, without refernatural lightingwill give this to the lighting. But and artificial emphasis more trulythan any invented
way,
method. careful and well constructed Judged by this standard many the drawings are yet mere diagrams, because varietyof the edge is disregarded. This is seen, too, in cases
as
mentioned
above
where
the
contours
of
two
91
Fig.
2
5a
"
A An
drawing made with charcoal on Michallct. example ot variet\' of edge treatment. 9^
EDGE
forms
both
delicate
in
and
light,
of
Appreciation of
consideration of
object
an
consists of
in
the
shape strength
;
the of
the
at
many
ankle,
the
the
line
three
arms
of
various
in
will
pose,
creasings
Y
the
ignore
down
to
armpit, and
limb
that
one
Y's,
of
arm,
meeting of
neck
overlappings.
course,
and
they-
that
so
never
the
lines,
with
show
are
will
irregular as
generally-
together
come
pinned
These
a
by"
contours,
fault of
say
emphasis be
any
opposite
The
of
stimulated
be
"the
Observation
contours
lines.
points
that
handling..
refined
may
contours
two
would
eye
three
and
the
strength.
occurs,
edge
delicate,,
These
most
emphasis."
in
if
of
dogma
drawing
Further,
the
variety
the
vary
same
vary.
demand
being
contour
nearer
visible.
scarcely
contours
93.
the
overlap,
perhaps
sharp-edged
STUDY.
a
Y
equalwise other-
point occur
shoulder,,
CHAPTER
XIII.
ARTISTIC
Artistic
from
the
if of
books
the
students
armpit, of
key
for Lessons
careful
of
sake..
"Intellectual
work
of
out
now
of
study
in
the
is the
rather
his
print,
hardest
be
used
played dis-
than
"Lectures but
student,
art
that
mean
it should
figure,
Moody,
book
a
the
not
that
but
the
definitely
more
does
ical anatom-
tighten
to
mark
This
studied,
be
own
Art,"
the
worth
may
construction
its
on
they
regions.
not
the
to
that
so
for
figure
model
their
from
Fresh
the
the
ing look-
diagrams,
flayed.
ask
ings draw-
Many
astray.
search
even
those
should
been
when
perspective,
anatomical
mere
had
the
forms
student
a
are
model
They
or
a
figure
diagrams
anatomy as
leads
details. knee the
often
like
so-called,
Anatomy,
ill- digested,
as
ANATOMY.
says
work
of
and
well
one
:
"
all. .
consider,
Just effort
the
for
plague work,
figure,
to
necessary
ankle.
The
you you
instance,
at
will
making
^unsatisfactory
least
get
of
that
twice
into
trouble
and
a
it will
:
time
every sum
details
will
total a
of
.
of
probably
delay
you
.
the
avoiding and
knowledge
feelings
94
of
position
week
a
altogether work
result
the
master
want
the
your
draw
the
annoyance,
hundred
times
ARTISTIC
ANATOMY.
9S
thought which
greater than the expenditure of time and would at
have
importance
framework
and
and
the
crops
indicates and
difficulty
the
surmount
to
necessary
first."
First in
bone
been
clear
muscular
shows
and
avoid
the
It settles the
at
bony ment move-
the
jointswhere
build, it
its actual
of form
accents
by a squareness appreciatedif the
be
must
wooliness.
fill up
masses
of the
knowledge
almost
shape, which
to
clear
proportions,and important
cut
drawing is
a
its articulations.
up
the
is
On
the gaps
the other
and
the
hand
suggest
first
the
great lines of the pose. All surface
the
parts of the skeleton
forms
should
the shoulders
be
determine
which
the
carefullystudied, and especially
hips. The former may be described as a floating girdle,for they are attached only by the collar in the breastbone), bones the remainder the notches (to. ments. attachand tendinous being free except for muscular and
Hence
the
comparative freedom
of action, while
the
of clavicle, complexity of structure, the combination humerus and scapula,add to the difficulty of expressing
the
forms.
The
hips, on
girdle,firmlyattached
to
the
other
the backbone.
hand, form The
two
a
fixed
halves
of
the shoulder
girdlecan move independently,but the hip girdle moves only as a whole, like a basket tilted. When in a standing that the pose the hips are aslant,this means is restingthe weight on model the leg to the side where the
hip basket is higher, and therefore a vertical line 'drawn, say, through the pit of the neck, will pass through
the
ankle
of that
leg, which
.support the weight.
The
slants other
inwards
in order
to
leg, v/hich carries little
or
FOR
DRAWING
96
ART
STUDENTS.
weight, droops
no
with
the lower
the
hips,
knee
of
lower
than
side of the
hence
that
is
leg
that of the
supporting leg. And by way of compensation head
and
often
slant
opposite
tion, direc-
the
shoulders in the
forming the
long
which
lines
radiating
lines of the and
right angles,
of
series
a
cross
at
pose
steady
it.
(fig.26). reduced
be
may
articulations
main
The
simplest terms such
similar
to
the
in
thing Some-
construction
the
ment commence-
drawing
every
which
has
All
structure.
of any
and
movement
to
i6a,
fig.
this
figure
claim
diagram
26.
form of
a
fig.
like must
by
is shown
as
their
to
tions articula-
the
ers including the shouldare represented by cross lines.
study
It is for want of
these
articulations
of the
crossingsor
that
the
draw-
FlG.
26.
ARTISTIC
ANATOMY.
ings of beginners look boneless to have no ankles, and appear
hips. It should be largelysupplies the
noted
97
and
wrists,
to
they
nothing of
say
especially,and
skeleton
the
crossings of
that these
reason,
for
yet wooden,
extremities
clearly in
is
the
the
is caused the
that is
a
the
ankle
inner than
the
of the
matter
construction.
bony In
elbow
obliquity by the fact
higher
outer,
seen
In
ankle.
latter
lique. ob-
are
This
and
the
elbow
the
slant
from
comes
origin than
the
of
the
the
supinators being higher of
those
the
flexors. Fig.
shows
26
these
in
FiG.
roborates In these
with
cross
some
mind
is that anatomical construction
in
from
a
cor-
drawing the figure.
degree of torsion
point at
in
borne
to
lines,all marking the bony
radiate
be
point 27.
rightprocedure
poses
ings slanting crossat an earlystage the drawing. The
no
or
as
in
fig.
muscular
great distance
27,
ture, struc-
from
the
The
figure.
students of to
showing
as
which
line think
of
or
and
teacher, and
cause
these
The
drawing and
often
the
figure
in action
throne.
A
freely
of form
which
This
take
turning
of the
contracts,
on
study
the
neck
contraction
of
observation
a
students
applied are
such.
to
nude
of the
have
walks
should
artistic
and
from
consist
in the
marking
the
the
model
changes-
often
the
manuals.
the
forward,
and
muscle
mastoid
on
that
turns
the
of what
place
will
head correct
to
of the
that the
in
right
that
supposed
sterno-cleido
the
process
it follows
is often
takes
the
is
misinterpreted
neck
rotates,
It
which
(sternocleido mastoid)
muscle
left.
for
anatomy,
regular
When
skull
the
to
wrongly
as
students
model
detail
head. the
studied
be
and
singly
place.
being brought
is turned
them
Usually they
above.
the
book
a
the
much
exercise
anatomical
function
of the
will, the
should
An
for
only glimpse
at
muscles
the
mentioned
is when
is not
students
the the
by
by showing
learning
should
regular
moving
skull
of
is answerable
Too
imagined
are
is rendered
service
fashion
in groups,
seen
figure,
in
effect.
anatomical
but
real
a
old
detached
the
across
apt
are
whether
lines,
rhythmical
for
composition
They
them.
is the
interest
an
for the
basis
mystifies
sometimes
that
direction
structural
a
has
matter
in
closer
the
movement
The
radiation.
of
point
the
greater
STUDENTS.
ART
FOR
DRAWING
98
the
head the
side, error.
"^"ir""""J**""?="MMi(f"?""i'^'
Fig.
28
"
A
The
drawing
with
reticent
use
black
and
white
of the white
99
chalk
on
chalk should
gre)' Michallet be noted.
paper.
Fjg. Swan. white
20
A
"
The
drawing to
hlaclv and wliitc chalk paper with should be noted the work and the
blue
of simplicity
chalk is used
untouched.
on
divide
the
figureinto
a
few
by ]. M. way
the
planes. Large areas are [BritishMuseum.
CHAPTER
DRAWINGS
Toned used
it
for in this
of
when
light."
With
perforce of
most
the
to
Work
toned
on
to
with
as
passages
the
closely One
making
paper,
of
common
error
a
to
freely
it to for
the
be
times some-
"in
the
the
the
as
more
paper
side, and less
or
much
with
hence
work
white
dark
tone
so
paper, on
say,
the
the
empty.
the
follows
light more
painting. be
may
its
disregarded assumed
of
as
and
dark,
method
white,
on
lighter tones
completed
(and owing
on
is concerned
method
tone,
is it suitable
modelling
is to
is done
the
the
this
use
tone
That
paper
half
or
Leighton's drawings
chalk
the
cease.
leave
is
carefully-
Especially
it fosters
black
or
modelling
tendency
first
should
for
pencil
often
known.
painting
drawing,
is
for
middle
Lord
and
chalk
studies,
labour.
object approaches
the
has
and
well
are
white
and
ready-made
drapery studies,
medium
PAPER.
making
a
time
saves
Students
of
when
provides
hence
TONED
black
with
painters,
chosen, and
ON
paper
by
XIV.
noted
drawing
the
tone
the
result
It is that
in black
completeness
white), afterwards
lights, with
here.
the
of
that
the
has
eye
the
using
the
on.
paper white
all the
tones
of
toned
consciousl suband chalk are
falsified. When
drawing
on
toned
paper
lOI
the
figure
should
be
G2.
DRAWING
102
in order
examined assumed
The
be
to
black
indicate
the
place
the
emphasis),a
black
of
space
representing the
two,
should
chosen
paper.
the main
in order should
of
cases
being
ture, struc-
chalk
white
for
plain paper tone
the
be substituted
(except
be
may
place the figure,to
suggest
lights. Generally the
touch
not
chalk
to
areas
that of
to
first to
and
darks,
which
in tone
be used
the white
STUDENTS.
determine
to
may
chief
the
ART
equivalent
chalk
then to
FOR
special
left between
the
standing for the
as
tone
of paper. Often darkens
when
close
the
would
best
have
drawing if
corresponds with In
of
if
drapery only, as short and
arm
at
form
the
drapery from
be
a
be
found
Moody's with
of
a
that
be
the
(fig.29).
horse.
should
be
draw
the
They sometimes continuity of
the
figuremuch
of
by the pull of
and
there
deep parts
of the
folds
the stuff rests
upon
it,and
carefully searched
interestingmatter
in Leonardo "Lectures
in Lanteri's
-paper is the
Beginners
planes
the
right place and
fullyclothed
the
of
ing points of support, this often resultseries of radiating curves. It should
figure,for
deal
in
only
the
beautiful
shapes should
good
clothes
suggested by
remembered the
a
on
Even
the
in
untouched
sleeve, having omitted
a
hand. is
that the tone
it is in the
beneath.
student
tone,
draped figuresevidence
form
the
half
of the model,
the tones
drawing from
sought
The
the
paper
of the exercise
sufficed.
part of the
stop
toned
on
unduly the parts approaching
finding at paper
working
on
da
out.
sent reprethese
(fig.28).
A
concerning drapery will Vinci's in "Notes," and
Art," while
"Modelling,"
Vol.
the II.
subject is
dealt
CHAPTER
EARLY
AND
MODERN
REPRESENTATION
OF
If
Botticelli's of
are
Venus,
the
model.
than
the his
The
Judged
in
never
the
in
and
and
Italian
is
no
the
detracts
the
his
are
Art
of
Chinese
of the
convention
rather derived
drawn
has
perhaps
from
even
or
is
in
lack
a
of
is this
especially
work,
contemporary
ground,
forbids
the
perhaps
clear
sentation repre-
invariably
were
Botticelli's
might Japanese
be
struction con-
shown. of
beauty said
masters,
to so
claim easy
contours.
and
Trecento
generally lightly
empirical
He
the
He and
rather
and
from
form.
from
directly
"sympathetic"
there
on
which
toes,
way
with
fluent
exhibit
all
suavity
kinship
firmly
which
nude.
those
foreshortening
of
line
like
stand
extreme
this
the
figure generally,
to
seem
All
of
as
form.
sculpture,
standards,
feet, which,
the
because
modern
by in
seen
classic
late
so
noticed
worked
not
is
engravings
contemporary
of
observation. of
one
are
student
evidently
reminiscences
even
mannerisms
treatment
of
result
examined,
the
to
has
painter
be
certain
interest
great
The
on
FORM.
early painting
an
XV.
shaded
Quattrocento
forms.
expression
personal observation,
than
that
of
from
wall
painting.
103
The
periods
a
Leonardo the
FOR
DRAWING
104
rules
da Vinci
In
shade.
their soft
his work
formulated
all that and
expression of form
are
of shade"
the "lines
seen
by light and He
smoky (sfumato) appearance.
or
first notable
light and
STUDENTS.
changed
the
governing
ART
academic, and
shade,
as
his work
on
in schools
taught
now
the
and the
was
teaching of of art,
was
founded. Since
Leonardo
the
"appearance."
upon
light and
shade
study
of
The
photograph,
it is, and
as
drawing has depended
essentially
simulating the
endless
has tightened the chain of gradations of natural lighting, tradition.
Consequently
honest,
to
draw
students
what
they
students
to
conceded,
if the
represented,what is called
object with the
are
limits
it is clear that it is
plane surface
curved
if the
advice. main test
be
ful, truth-
nature
Moral
issues
thing
is
of the convention
is
for be
of appearance
its environment
"
to
be
which'
drawing?
First a
But
be artists.
to
copy
to
see,
impossible task and misleading are needlessly dragged in. The
told
are
quite impossibleto show
on
gradationsof lightoccurring on a the student do In attempting to so himself, loses his way, and consequently
all the
surface.
merely deceives all profitfrom his study of drawing in line and tone. and The great realistic painters,such as the Dutch the Spaniards, chose a few tones. They painted in the general tone, and into this they brushed the dark and the the latter they placed the high light, On light tones. and in the dark the reflected light. Their practiceshows that these
few
Drawings
tones
made
are
with
the essential the stump
are
ones.
speciallyopen
to
EARLY
the
AND
MODERN
REPRESENTATION
objection that
FORM.
OF
loj
working, students delude themselves with the idea that they are making a complete expression of the tones of the subject,whereas the fictitious relief, apparently destroying the plane of the paper, surface is a vulgar and meretricious quality,crushing the student's powers of artistic appreciation. Students
should
convention, and
continuous
by
understand
all
that
drawing
is
a
impossible fullyto realise any of a trick,(thehistoryof Art is object,except by means full of instances, from the grapes of Appelles onwards), and should be urged not the to cofy object, but to express In the
and
a
more
essentials
those the
sense
they try
more
made
from
make
the outlines for
they their
their be
can
discern.
drawings like, gence. artistic intelliartistic effort,
an
drawing
cannot
be
art.
a
of the
old-fashioned
practice Outline contour or drawing, such ornament (withsections)drawn by art
disposes at outline drawing.
architect
to
artistic intention, for
with
This
as
which
of form
they cloud and confuse Every drawing done should
divorced
of
it is
that
of carver
once
to
follow, is
a
convention
used
fessionall pro-
study, pursued for long periods,it is of things. of interest in the appearance but
destructive
Nothing
as
written
is intended
above
to
relieve
the
of taking his drawing as responsibility have far as possible. We only to look at the great the at early work, say, of Velasquez, masters,
student
from
Rembrandt, Holbein,
to
the
Franz see
Hals,
what
into their work, what
an an
and
amount
incredible
at
the
drawings
of
eyesight they put: of pains they amount
of
io6
DRAWING
with
took
in
himself and
a
felt
A with
the
by
exhibit
the
could
be
is
expression not
'decorative
He
done.
only effect
of
detail,
that
in
the
he
may
pots student
reported
once
and
sculptor
decorator effect
wish
the
to
his
on
of
secure.
but
figures realistic
most
hands
he
that
declared
with
incompatible
not
writer
skin
the
meant
possible
homely
on
modern
any
the
spent
pseudo-decorative
of
pores
light
living
modern
the
slurring
very
of
great
a
of
speaking
of
friend
Velasquez
etc.
hardly
which
degree
necessary.
obtained
and
a
conversation
who,
of
to
dress, effect
the
studying
pans,
has
of
details
mere
STUDENTS.
ART
FOR
a
true
enhancing
would if
it
mode
artist, the
CHAPTER
DRAWING
Many
their
themselves
student
the
interest
visual
taught
those
in
them,
thus
which
he
nose,
and
field
of
desired.
drawing
quite his
than
basis
of
an
and
moments,
have
thoroughly
not
then
are
They
memory.
of
may
really
Consequently
at
of
with after
107
its
used fact of whole
the
art.
it
it and
being
outline
often
takes
sometimes are
times some-
for
reproduce
at
the
of
over
present
to
their
subject. for
construction
looked
share
the
Pupils
expected
the
some
Lecocq,
intricate
examined
acquainted
the
extended
form.
have
of
statement
imaginative
definite
after
naturally
was
practised
long
drawing
he
precise
those
object
and
exercise
and
in
art
copies,
teaching
as
other
shown
structure.
his
representative
missing
they
first
His this
clear
had
necessity
form,
flat
the
obtaining
Memory lines
from
had
of
the
definite
a
days
from
has
schools
by
have
translation
The
emphasized of
retention
memory
Boisbaudran
taken
especially
Lecocq
necessity
from
over.
de
now
from
drawing
were
Lecocq
MEMORY.
artists
in
days
of
writings in
FROM
professional
train
to
XVI.
it
few
a
from
superficially, made
themselves
proportions memory
but
vision
and has
a
DRAWING
io8
become
FOR
ART
dim, they elaborate
STUDENTS.
with
imaginary details. objectintimatelybefore they can memory,
its construction, and be
be
points of view, and, if need class of students
teacher
art
is often
student
know
must
it from
draw
scrutinized
the
memory;
found
from
the power
of
form
find the memory
various
gives the
memory
slackest
The
moments.
be
to
from
be, handled.
drawing
puzzling
some
They
especiallyits proportions, should
ascertained; it should A
drawing from
their so-called
far ahead
art
of his fellows
in
and reproduces seemingly without visualizing, of effort,while students with more developed sense may
Galton, how
in
"series
a
definition to
"lOo
and
"Inquiriesinto of
visualize
to
"the some
in full
light and
colour,
defined
that
a
memory,
form, while power
at
with
as
others
power,
dimness
the
saw
they could,
a
the mental
breakfast
that while
they the
to
would
the
illumination,
work," he asked
table." scene
the
The
answers
perfectlyclearly, objects so sharply
they said, have
experienced not
addressed
distinguished in
were
of illumination, an
number
Faculty," tells image"
fields of intellectual
showed
had
Human
least half of whom
in other
or
difficult.
very
queries related
colouring of at
men,
science them
in his
exercise
admit
them
drawn in
gaps
their of
indistinctness that
they had
any
all of
vizualizing. the power of drawing
Whether
"gift" or
not, there
obtained
when
is
memory
no
doubt work
is
from
memory
be
that the best results
regarded
not
as
a
are
merely
part of the study of drawing, but as a system in itself, for instance, that practised by the Japanese. such as,
(figs.30, 30A).
The
late
DRAWING
FROM
Joseph
Crawhall
MEMORY.
was
109
of
example
an
a
ing train-
in art studies
work. His early exclusively through memory directed were by his father, who taught him to
observe, and rubber were
then
thrown
secured.
records
allowed,
not
was
make
aside
All
and
until
through
from
attempts,
the
desired
life this habit
completely artistic expressionof and him some was
his friends
have
after another,
one
impression was of seeking after
his visual
told
India-
memory.
their
memory,
sisted, per-
seeing
at
sorrow
a
destroy beautiful drawings, which, however, lacked qualityhe sought. His desire to express himself and overwhelming when it manifested spontaneous,
itself,and
often
at
interestingfeature which
had
the most was
inconvenient
the sudden
lain dormant
for
emergence a
Another
times. of
sions impres-
long period.
One
of
an episode drawings, the subject of which was from the Spanish bull-ring,was made fifteen years after such a scene, he had actuallywitnessed (fig.31).
his latest
subjects,animals and birds, and of his of expression, watercolour medium linen, show him on been much influenced to have by the Japanese. It is that at his death his studio was significant empty save for two were no drawings. There partly finished of study, no bundles of notes, and no stacks of records above, he destroyed all 'drawings,for as mentioned His drawings are hard to see, no public imperfect work. gallerieshaving acquired any, but a good many ductions reproHis
choice
of
of his work volumes But
gift,it
of the while
can
be
seen
scattered
among
the
"Studio."
Crawhall
is evident
that
may
have
all art
been
students
a
case can
of
special profitby a a
DRAWING
no
trainingin
FOR
and
memory,
ART
STUDENTS.
from
gain
it certain
important
benefits. Whistler draw
to
he
way
it before
painted
pupil
of
Millet
of
his nocturnes on
his
the
the
artist who
Menpes'
on
trained
self himof the
account
the spot with
and
scene,
described
a
the
friend, effect;
consciousness
picture the
Lecocq,
an
and
memory,
interestingreading.
very a
from
his back
kept
instance
an
studied
turned
and
is
We
during the evening, following morning, makes may
of whose
some
almost students
consider he
him
knew.
example of a painter,who lounged about Barbizon, apparently the laziest man there, but all the time absorbing the form and spiritof the peasant life in his studies he "squeezed around him. Afterwards the sponge" and produced those paintings,of which the simplicityof the composition, the largeness of the forms and the unity of the whole, make it certain that they were not produced out of doors under an umbrella, and amid the distractions of details and variety,which invariably when
occur
When
Chinese
is another
paintingfrom nature. looks at the drawings and paintingsof the one work is and one Japanese all memory of the expression of the intimate character at one
is
"
amazed
"
extends with the structure to the familiarity minutest detail. drawing Early exercises in memory insist on the take should of this quality and note the students exercises being of objectswith which are examine familiar, or which they can closely. The procedure such steps as of examination might follow some these : (i)general proportions;(2)type form, as cube or cylinder,on which the objectis based ; (3)main line of form.
The
"
DRAWING
FROM
MEMORY.
enclosing shape; (4)construction Quite another type of exercise students
visualize
iii
in detail of the
object. asking the
in
consists
familiar
object,which, however, is not produced at the time. An interestingexercise is which Mr. Catterson Smith has initiated,consisting one of drawing with the eyes closed. The exercise allows the following of the mental image by the hand without the embarrassment of seeing how far short the drawing comes. Certainly this method gives good results in to
composition, the and rhythmical. In take
into account
being generally animated
movement
the
drawing
a
figurefrom its powers
it will be well
memory,
of movement.
Most
to
really moving, the sky,
interesting pictorial material is evanescent, shifting. The clouds chase one another across birds fly, animals walk, trot or gallop,water flows,breaks and in into foam, or marshals people meet waves, If drawing is separate, all the time constantlymoving. of this living cinematographic attempted in presence full of finds one's sketchbook picture, too often one line is lucky to shreds and secure a patches. One without the detail. suggesting the movement A training in memory drawing of the right sort is ditions wanted, and it should consist in approximating the conThe
of the world
those
to
life
model
Every period of memory
a -was
exercise, and All
suitable.
most
such
pose unable
which to
is
outside
posing, say
work
should
it is well art
students
It is these
for
time
include
at
consider
to
sketching. least
what
will remember
captivatedthem,
keep.
the studio.
but poses
which full
one
will be ing attack-
the model of
action
DRAWING
112
which model such and
required for
are
should
which,
in this
the
STUDENTS.
exercise.
memory
The
as
rule, is the despair of
a
be
kept
meanwhile
for
pose
be
to
case
student
model
then
the
seconds
the
before
The
the
the proportions
seek
students pose
to
need
may
for
firm foundation
a
repetitions
During
examine
but
(fig.32).
drawing,
times
students
only.
shall establish
generalization. The
is obtained.
drawing
the life room,
figure,searching
rests, while
several
be resumed
action
the
of the
their first
express
few
a
watches
movement
The
for
long line which
the
and
the
ART
required to take up a vigorous attitude, as throwing,running or thrusting,where the limbs fine general line, a extended torse to furnish are a
pose
to
FOR
the
of
construction,
the
and
ing. is standespeciallythe placing of the feet if the model the lightand shade, so far as it explainsthe Even structure, further
from
lines.
exercise
This
has draw
to
also
method
than
and
those
of
rarely found
action.
on
secures
are
When
a
often
drawings
better
made
is that
the
in the
life room,
model
is put up
from
with
the model
student model
the for
this
a
point of sitting what
sees
in
is
strong"
long period,the
necessarilydegenerates,because other muscles brought into play. An experienced sitter is often adept at making slightcompensating alterations in view to assisting With the model, aids such a pose.
pose
the
proportion, for working on the right principle,, the big to little,the proportions are seized from
continuously. Another advantage too
The
advantage of forcing the students
commencement,
view
memorized.
be
constructive
right good
may
are an
the as
y
o
P
r:il
"
m
o
i2
c
,o
OJ
-S
C
4J
0-3
'"S
3
ii
"T3
Oh
3
^
U
S."P
-P-C
"
o "
Dh
3
3
O
re
Oh
b
r: c re
a,
;
H
"I3
o
O
t-:
"-"e
-"i-'^aam".-CM'.
Ji
a
o
:
CO
F,c.
30A" of
easy
to
The
every see
Japanese natural
what
an
or
asset
this is
to
behind
left
have
masters
fashioned
object existing a
is without
of
system such
114
a
memory
legacy.
preciseand in
their
direct
country.
drawing.
The
ings' drawIt west
is
u
"5
Fk:.
3IA
"
Drawing ncbs
with of
charcoal
the
contour
on
Michallct should
he
paper.
noted.
The
scnsitivc-
DRAWING
a
wedge
placed
often both
used, cases
Students, with and
the feel
or
a
under
a
hand
the in
complete
seeing notion
FROM
aggrieved
heel the
act
of
if
model
they
ground, is
pushing
original
the
posed
is the
a
are
supported, idea. imbued
become
used,
detect
the
off
of
devices the
117
when
contradiction
these that
MEMORY.
fixed
slightest
object, tion. devia-
CHAPTER
XVII.
ANIMALS.
Animals, material
including
for
they
follow
can
dove
the
will
and
of
bird's
tend be
A
lives
for
is
of
the
and
the
In
and
its
of
in
dari,
smaller
a
who
captive
the
larger slow
easiest
its
but,
contour,
structure,
other
of
creatures
of
most
and
seed
tinuous con-
the
on
other
however,
which,
other
it is
being
a
118
in
or
and
perfect health, It
has
of
the
none
birds,
domesticated
model more
box
daily,
corn,
without
eminently
(fig. 33).
small
a
keep.
to
examined
it
their
a
watching.
or
plumage
render
of
reason
requires only
movements
birds,
by
and
complexity
a
once
captivity, apparently
fondled
be
suffering. order,
of
nervousness
may
the
which
dove,
years
of
one
even
comparatively
at
by careful
handful
a
which
beings
bodily
the
discerned
cage,
rapid
student
of
feathers,
unify
hide
to
common
is
The
overlap,
may
their
movements
human
plumage
simplification.
hand,
The
eye.
position
the
of
reason
excellent
are
record.
to
easy
The
find
and
quadrupeds
in
insects,
by the
quicken
changes
makes,
and
because,
study,
movements,
birds
fright
or
beauty
of
sedate
than
those
suitable
for
study.
'yiMnA^-^
Fig.
32
"
A
memory
figureindicates the
drawing movement
the
of
a
figure in strong action.
the long curve by establishing and trunk rightleg. 119
The
upper
running down
EAfi,
Covie;i^Ts
#"
J ^' ARIES
U'APUtAli
-Eco,VDAR|E5
BUTT
OFVVINq^_
pfi.iM Allies
Fif:.
3 3
"
Sketches
of
a
dove
shewing
the
arrangement
ot
the
plumage.
ANIMALS.
It should birds are
first be
impressed upon approximate to
in their structure like than
more
specializedarm, radius, wrist
and
unlike.
and
IZI
if
thumb
The dove
a
student
that
that of animals
"
wing, for instance, is a is handled, the humerus, detected.
be
can
the
The
butt
of
wrist, but it is wing corresponds with the human fullythan the latter, capable of doubling or flexingmore the
that
so a
small
the form
the
bird
compass,
of
a
Z.
when
weaker
rest
the humerus, The
providing attachments beat primarieswhich and
at
in structure,
for
the
and
fingershave
the
air; the
grow
pack
forearm
and
hand
the
can
from
strong
wing into
hand
taking
coalesced,
pinions
or
secondaries, softer the fore-arm
and
the
DRAWING
122
FOR
so-called
scapulars
the
feathers
long
the
coverts,
from
that
of
but
leaving naked
in tracts,
occur
handling
when
all
distributed
not
are
or
great force.
a
feathers
the
of
strongly together by feathers from the flight
being bound
large bird demands Especially should it be noted wing of
bases
plumes
smaller
by
ligaments, so that the removal the
The
humerus.
the
covered,
are
whole
STUDENTS.
ART
bird,
a
the
over
body
If the dove
areas.
be
carefully and its breast feathers blown of the breast, void of feathers, will aside, the large area be seen. Again all the feathers of the upper surface, with the exception of the smaller wing coverts, overlap turned
over
tiles of
like the
might be said noted
that the
overlapping, and the secondaries In hold
it
by
feathers,
the
the
as
a
if
the
on
from
a
The
The
may
wing, be
the be
its
wings
primaries. taken
to
flight
the part of the bird
elbow
may
close
tips of the
the on
of the
thumb
bird
point of
in
lowest
the
it should
wing,
should
care
movement
side
the a
by
not
joint.
the
the lowest
folding over
seen
living wing
sudden
reverse
above.
be
wrist, and
might dislocate felt
watches
one
and
regards
primary is
feather
uppermost
its beak
As
first
will
examining
that the
so
be that next
to
tail feather.
outermost
be
roof,
a
but
be is
distinctly
never
felt, and
its
seen
little
(fig.34). leg or shank is a specialized corresponding with the human be felt higher up under the may
of feathers noted, group What is known the as
foot, the joint above ankle. skin
knee
cap
of the flank. The
the
The
big
back toe,
claw
is
acting as
more
like the
it does
in
human
thumb
opposition.
than
It should
S"^iW'"',i^
123
,
,^.;,,J_^-,-,,^^,^^^-,,,,^.,J-. --^
2
^A S
c
a.
^
^
Z
2
""
S
g
3
-"
1"= o
-/"
'."-f
\
";
"^
"iii^si
12+
5
ANIMALS.
be
noticed
that this claw
125
jointsonly, counting its articulation with the foot, the second claw three joints, the third four, and the fourth or outside claw five joints. This is usually the smallest and weakest digit,like the The
neck
slippingin the
in the
the
S
of the
and is
S
knows
with
a
and
has
an
in the sternum.
the
shape,
When
neck
a
at
fulness
is stretched
its fulness.
the neck
carved
S
corresponding
alarmed
curvature
takes
commonly
notch
when
who
fowl, the lower
As back
of, a bird is determined
area
and
framework,
a
emphasized
losing its
dorsal
bird
of
out
neck, while
everyone or
two
little toe.
human
ease
has
hence
is
by a fixed bony quite incapable of change of
shape. The
anatomical
closelywith
more
of
structure
that of
man.
mammals As
corresponds
in birds, however,
is called the specialized. What the of the foreleg of the horse corresponds with knee human wrist, the hock of the hind leg being analagous As in man the shoulder with the heel of man. girdleis ments. attachconnected with the trunk mainly by muscular the force the horse Hence jumping off with afforded by the bony continuityof the trunk, and pelvis, the hands
feet
and
are
impact of, say, four tons, on of the elasticity of the which, by reason lands
the
with
an
shoulders
to
the
trunk, sustain
the
its fore feet, attachment
shock
of
without
injury. This
markedly
freedom in
of the shoulder
loose
limbed
girdleshows
creatures
like the
walking, the slingingof the body between fore foot is When a causing it to sway.
itself very cat
the front advanced
when
legs the
126
DRAWING
shoulder
that side is
on
the other
FOR
STUDENTS.
ART
depressed, because
the
forelegon
side is
supporting the weight, the arrangement of the slant of the hip-basket when a reminding one the weight on rests one leg. (fig.35). In the person of broad
case
leg
is advanced
pelvis is
horse, when
the
as
from
raised
or
hind
ground the tilt of the
the
in motion,
studying quadrupeds
should
first try
animal
like the
represent the walk
to
which
cow,
would
of
slowly moving exactly as a
a
its limbs
uses
A
hind
followed
immediately by the foreleg on
the
same
followed
by
its
hind
the other
leg
moves,
leg
forward
child
do.
student
the
crawling Then
a
pronounced.
very
When
animals
backed
moves
side.
foreleg.
(fig.35). Manuals
of
comparative
for detailed
in
the
man
it will suffice to
Here
structures.
of the
statements
is continuous
arm
should
anatomy
with
bony
point the
and
out
be
muscular
that
shoulder
sulted con-
justas
and
the
quadrupeds. The legs should be considered not merely as those parts which protrude from the trunk, for the foreleg includes the shoulder with it,and similarlythe hind leg is blade, which moves involved with the pelvis. In both cases structural lines reach to the back. (Fig. 35). In the case of shaggy and hairy animals like the bear leg
and
with
the
wolf
whorls
the
should
Speaking student
set
be
of
with
of the hair
and
of the hair
the influence
studied.
generally
is often
drawings content
hip, so
shown
animals.
of forms, where
the
mental
by the
too
He
aims
he
should
attitude
of
the
irregularlines of his at depicting a large look
for
controlling
ANIMALS.
lines,
orderly
especially which
to
be
sticking stuffed
in The
alive, out
specimen.
to
of
seldom
shows, in
regard power
Not
symmetry.
and
arrangement
true
fly.
127
odd
by
a
its
places,
birds
and
flight
of
drawing
it
has
creatures
and
regularity a
and
raggedness, that
insects,
implies
been
is
This
structure.
bird
by
purporting the drawn
feathers from
a
CHAPTER
XVIII.
LANDSCAPE.
from
Drawing from
the
tone,
but
crowd
large with,
as
interiors feels
be
taken
of
much
and those
should At
a
Lastly,
not
a
certain there
there
drawn distance is
the
a
the more
the
of
eye. as
is, he
large
Corot
whereas
surveyed
the
difficulty
of
distant A
distant
foreground legs prosaic
cow,
object and but
in
horns
his
one
his
kept
from
scene
aerial
spective, per-
weakened
the
forms
is
that
so
area,
what
vision
of
Degas,
wrongly,
quite
detail the
nearer
figures,
is
called,
blurred
example. a
begin,
to
a
grappled
be
angle
the
embraced
size, that
it is
be
whether
relative embrace
to to
has
one
For
the
Then as
where
of
problems
estimating
have
of
out
new
eye
and
defect
work
the
tower,
or
narrow.
amongst
distance.
with
in, and
dancers,
oneself
accent
tree
a
question
or
with
figures a
the
wide
be
to
as
also
is to
area
such
object
dilating
it were,
as
of
and
line
the
landscape,
difficulties
The
of,
proportions,
from students
or
figure,
construction,
in
When
buildings
them.
living
the
suffer
all
small. at
upon
from
practice
subjects
these
whether
doors,
life
gives
antique,
relatively
being
still
as
compared
for in
instance, miniature.
disappear.
immediately
press-
LANDSCAPE.
"
129
ing problem of the vanishing of receding parallelsof building,etc., especiallythose above the eye. For excellent
material.
Turner, and
mansions
country
in handling facility It has
often
draw
thing to horizontal
matters, his
by
buildings afford early studies of
ruins, laid the foundation
been
of
his
of architecture.
masses
remarked
of doors
out
that
is the
plane. Upright
Houses,
easy.
all these
disciplinein
earth's
things and
trees, mountains
the
difficult
most
surface
"
the
comparatively people correspond are
in
positionwith the vertical plane on which in theory one is drawing, but fields,roads, rivers, clouds, flightsof birds, etc., at rightangles to this plane are apt to give trouble. The bias of vision causes such objects to be drawn if they were as oblique planes sloping upwards to and a a high,vanishing line. Clouds suffer especially, "vertical sky" is very common in student's work. In this connexion flock of sheep would be a good a surface. test of a student's to depict a horizontal power Their backs form level plane which a persistsalthough the individual and
Jacque and
elements
drew
in the
In reference
sheep
to
move
well
and
fro.
Anton
constructed, both
Mauve
ally anatomic-
mass.
to
this
question of the representation of
plane, it should be noted that ancient art, such as the Egyptian tomb paintings and Assyrian bas of reliefs,ignored it in favour of the processional form composition,in which the feet rest on what corresponds with the ground line of formal perspective. One often finds children doing the same thing; their figureswalk
the horizontal
along
the bottom
edge
of the
paper,
the
ground
plane
DRAWING
130
FOR
being assumed.
Some
STUDENTS.
ART
of the
Italian
great
decorators
adopted this device, which gave dignity and loftiness to in their compositions. It is to be seen Mantegna's "Caesar's Triumph," at Hampton Court. One
fruitful
of the most
of
causes
failure to obtain
a
close to the
horizontalityis beginning the foreground too Corot
eye.
remarked
should
In
ahead.
size without
the
resents,
which
work, and
the
rightly,because the
understand
to
of
much
figures are
figures, which
distance
and
"
his
necessity of
constantly
work
ively instinct-
betrays a
convention
a
a
ground fore-
layman
such
as
some
disproportion between
enormous
in modern
us
this way
middle
and
failure
for,
this respect,
above, he generally began his foreground
distance
startle
in
studied
be
of
representation. Art
students
material
for
often
too
study of
form
think
and
of
composition, but
sketchingground. Incidentallythey outdoors
by working in hours soon
of
July and the day.
after the
only
August,
They had
sun
to
should
form, and
yet few
doors, compared
to art
with
students the
tax
painting box, had
vanished.
numbers
of
the powers
conditions
seen
erally gen-
middle
the
a
selves them-
lend
precision'and are
mere
Corot, who,
scene
heat
certain
a
also
his
up
the
a
as
ties their difficul-
to
remember
risen, shut
as
not
weather, and
choosing
artist,but these very
drawing,
add
in fine
remarking that the beauty of Painting in bright sunlightand well-trained
landscape
fixityof
drawing
out
sketching with
of
water
colour. Masters the
of
point from
landscape have Claude
onwards.
studied If
out
of doors
with
composition is the
LANDSCAPE.
theme, washes which
study, loves from
of grey
to
dip
the gay in do
the fundamental
material
as
smooth,
the
water
structural
of contour,
or
he often But
order.
pigments the student They divert his attention Such of his composition. surface of water, rough or
masses
because
give opportunity for
will
colour
allow.
varying aspects
well-defined
and
black
or
rocks, the
trees,
the student
and
not
13 r
systems, often
of cloud
its appearance,
while
in its
apparent
laws, yet
fuse con-
based
on
ity irregular-
ties, its f ugitiveness,presents great difficulfails to discern
if the student
the is to
underlying structure realize the meaning
draughtmanship, which, however, is of no value unless all has to one something to say, a message express, visible natural phenomena are profitableexercises.
of
himself make landscapist,for instance, must know must intimately acquainted with tree structure, much time to devote one species from another, and must than drawing rather painting,because by drawing one The
arrives
at
a
clearer
branching
structure
clothed
summer
analysisof as
seen
in
structure,
winter, the
the
bones,
way
this
or
is
of which have by foliage,the masses form for each species. Even the kind of a characteristic the edges of the masses stroke by which are expressed be sought, for example, the saw-like edge of the oak must horse chestnut. the more lobate edge of the walnut or or off the of trees were much The old drawing books not so out-of-date considered when mark, though now they began their study of tree forms with a page of scribbled for each tree, but which the foliage a recipe as it were student will arrive at as a result of his own striving. in
"
The
study
of rocks, hills and
mountains,
of reflec-
DRAWING
132
tions
in
water
must
for
watching "Modern in
by
and, its
is
not
a
who
students paper make
of than
worse
is
of
will
student's
attention
form
which
planes
being
perspective
be
the
a
the
of
will
from,
of
drawn
to
earth,
the
of
groundwork
enables
interpenetration,
the
student
under
the
define
simplest
planes
broad and
pictorial to
the
because
the
sea,
to
and
reflections
assistance,
greatest
on
approximating
including
and
is
perspective
formal
conditions
be
surfaces
of
course
the
will
the
up
perspective
parallel
as
vision
ordinary
shadows,
known
but
useless,
lines,
those
hold
working
are
ceived. con-
indeed
and
occasionally
they
a
was
well
always
perspective,
scene
should
mistakes.
what
common-sense
and
the
value
great
Ruskin
were
and
Ruskin's
philosophy,
art
exercises
always
eye,
of
is
teaching.
art
eyes,
outrageous
Much
its
of
their
that
tumbling
form.
of
much
manual
and
waves
searching
same
from
his
cover
of
orderliness
practical
use
to
the
apart
and
STUDENTS.
forms
contains
teacher,
This
ART
and
structure
for
art
great
not
studied
respect
studied
their
the
Painters"
this
be
and
water, be
FOR
sky.
These
composition their
relations
conditions.
CHAPTER
XIX.
PLANT
Mr.
speaks his
own
all
their
G.
R.
of
the
FORM.
in
Hatton,
difficulty he of
sense
the
and
own
a
finds
peculiar
in
one
of
his
books,
to
his
pupils
conveying of
beauty
distinct
quite
in
passage
from
flowers that
beauty
a
"
children
of
or
women.
Students' of
appreciation
are
depicting.
by
a
this
a
eye,
of
a
plant's
or
to
plant
wonder
a
itself
for of
spite only
of a
growth,
itself
true
eye we
orderly
to
according
careless
way
to
holes fails
call
the
or
broken
to
see
this
of
of
among stems
order,
that
insects
accidental of
laws
the
but
sorts
beautiful.
and
attacks
distribution
its order
structure.
133
to
Yet the
all
to
irregular,
winds, all,
consider
liable
so
it is
above
invested,
are
we
lack
they
irregularity.
that
varying
by
caterpillar
which
any
and
foot, cold
parasites, and,
arranges
in
is not
careless
shows
frail
is in
they
If
view.
think
they
untidy
same
so
form
the
their
betray
shrubs,
superficial
caused
always
the
appearance
Exposed
of
and
trees
with
often
plants
beauty
seedling,
the
accident,
the
the
merely
delicacy of
of
Like
careless is
of
drawings
velopment de-
light, yet its
growth,
plants, it
it
and
succeeds,
and
beauty
DRAWING
134
FOR
ART
STUDENTS.
A
plant in flower may be compared with a beautiful woman putting on her most tainly ceralluring raiment, and in expressingthis beauty we allow to succeed must the plant personality, almost must we imagine that we ourselves are plants,that we desire to ignore the ravages of insects,etc., to
that
so
we
the flower
see
may
it desires
as
be.
liness, securingorderof drawing understand that the method must we It is drawing value. previously used is here of the same bit by bit,flower, stalk, leaves, as they happen to come, nately and that produces irregularity ugliness; and unfortuTo
ensure
some
flowers The
it.
and
parts
lend
plant
that
the
exhibits
energy
of
for
in each
growth
in all its structure,
For
their base the
that often the
reallypassive,
flowers, in the
and or
growth
new
of its stems,
curve
it
that
in the
which
is often
vigorous the
prints should
drawing
rendered
case
of the
of
be desired.
Their have
The
is
plants
a
slack
corolla
which
action
it tamer
In this connexion
example,
with
of human
makes
be studied. for
can
delicate
most
form
in the
passive.
that
in the
instance, the springing forth of
reveals, just as
to
not
be noted,
It should
pose.
is
in the line
energy
unheeded.
unlike
like
scrutinyof its a model sitting
folding un-
from varies
species, (fig.38).
This
from
quite
long
a
separate
of
want
or
flower
of its leaves
the axils and
a
remain
to
seems
this method
to
invites
rather
in
success
themselves
passively,prepared however,
of
measure
and
the
curve
often
petals quite
the flower have
we
seen
inclining
more
Japanese drawings anjd renderings all the
of the
vigour petals unfold
and and
santhemu chryment move-
twist.
PLANT
and
yet show
the
FORM.
135
subordinating power
of radiation.
student's
flower
the
that of slack
drawing of the same dominant impression being
Therefore, human
first strokes
the
as
figureshould of the torse
of stem
and
should Crane
and
general
first be
that if the hand
here
so
of
contour
of
(figs.36
passed a
of
fact
leaves
or
the
of
a
the type,
living
a
singleform. The authority fond of drawing a bunch of downy was just mentioned ducklings squattingtogether in the farmyard, producing in the jnass to a full-grown duck. a strong resemblance The rounded lines of the elm and chestnut produced by structure
to merge
of small
myriads in winter
into
Walter
remarkable
the flowers
line
flowers
which
varying according to growth that parts of
curve
law
line,to a
the
the directions
foliageor 38). Mr.
"
It is
over
of
the characteristic
mass
conformed.
be
plant,it describes exemplifying the tend
limbs,
this the "invisible"
leaves
or
untidyness.
drawing
a
this,
misses
its inclination,and
down.
set
called
once
blossoms
show
of
often
A
a
leaf forms, and
by the leafless twigs
are
a
similar
formed
curve
examples
further
of the
law. Given
drawing
a
structural
lines,it should
details in the set no
how
matter
nor
lines of
proceed The
leaf may lobes
many
be or
seen
to
to
tormented
have
divisions
main
expression of the
groups
flower, too, has
like the
the
with
of leaves its main
into which
its type
buttercups and wild
being shape, its edge
form, often
roses,
and
no
by wind, etc., the separate petals, irregularlythey are turned or twisted, the main for, if one growth should be carefullylooked
how
how
plant commenced
a
manner.
Each
up.
cup-shaped, matter
same
each
down,
breaks
of
DRAWING
136 dared
to
the
A^
to
the student
to
when
Day
well
are
it may
structure,
Lewis
as
if the eyes
of
purposes
here, but
one
student's
study
There
drawing?
a
may
as
of
wrote
once
used
be
drawing
the structure
will
full of
from
the
express
But
design. defeats
as
the
form this
of work
that his
needle
can
be
a
for
drawing
is of
A
contain
the
much
so
is
the
to
attempt
an
of
for purposes treatment,
for
only
use
study
design purposes. must
when
decorative
drawing
opinion
sometimes
not
required
one
can
much
be
never
Every
etcher
than
more
tain cer-
the
use.
Therefore
the
suggestion
drawing
instead
of
however
careful
and
student's
is made
deliberate, should
powers
what
structure
is
because
the
completely
the
more
degree
possible in likely is
a a
he
that the
outline be
allow, first because
detailed
more
here
being expressed by
it is beneficial,showing
drawing,
of
sees
in outline
flat pattern.
"
bodily appropriated knows
plant
flat,would-be
itself,for such
kinds
One
shading that is of industry.
it may
as
far should
how
difference
some
fails him.
result of observation
Drawing
is
of form,
that the limit is reached
say
observation
plant drawing
the
its forms
in
regular
mencement com-
far wrong.
go For
as
the
at
artistic anatomy
as
figure,though,
plant drawing,
take
and
of botanical
knowledge
a
the
not
plant should
a
orderly
more
STUDENTS.
plant appears.
valuable from
ART
it,a drawing of
say
be than
FOR
an
student have
as
far
exercise
of refinement
drawing, and to
merely,
carried as
plant
and
secondly
expresses
his
mastered
the
of the tulip tree branch shows that leaves a in conform and to i rregular wayward underlying arrangement, apparently this T he is flower in case ellipses. beautifully cup-shaped. shapes, rhythmical
Fig.
37
"
^This sketch of
'37
Pic.
38
"
^These sketches of or
line of
plantsshow
growth, too
often
that each
has its own species by the designer. disregarded
.38
curve
PLANT
of
Structure
be
for
the
and
these
it may
which
which
universal
the
take
consciously, seen
in
The
structure
of
the
plant beauty
produce
for
as
noted
it were,
takes
the
the
forms
Every
ing draw-
in
of
of
acceptance
how to
of
that
to
clearly
instinctive the
plant
the
of
sense
form
the
as
all
as
stance, in-
an
the
plant
which
is
flowers,
stems, of
of
law,
this
obey
of
radiation,
lines
the
seem
clearly
leaves,
etc.
principles,
the
radiation
acknowledge
to
the
appeal
in
contrast,
all
are
for
all
clearly
repetition, variety
its
to
ing underlyin
most
seen
dentally, inci-
only
discovered
accounts
given
here
principles
be
be
cognizance
as
but
its first law
form.
generally of
snippets
space on
drawing
at
the
student
the detail
Without
rendering. plant
the
design.
arrangement
seems
the
and
principle, be
Speaking to
is
general
one
it will
the
will
treated
may
line
perhaps
motive
To
they
of
assent
and
that
principles
continuity
exemplified,
be
perhaps
The
radiation,
beauty,
useful
more
can
said
while
may
form.
in
be
studies, form,
plant
the
composition
but
natural
and
139
reference.
Design
way
plant,
FORM.
one's page
should
rather
should an
and
be exercise
plant
than
taking
disposal
be
of
a
posed com-
with
arrangement
carefully in
is apt
carefully
liberties the
form
considered.
composition.
the
of
CHAPTER
DRAWING
AS
XX.
PREPARATION
A
FOR
PAINTING.
"Make is
colour,"
or
it
of
"pite
often
maxim
a
the
that
groundwork,
other
first
stages, with
a
the
less
more
or
made
with
etc.,
being
sort
the
charcoal,
or
-edges,
the
one
paint
to
outlines the
be
first
firmly
resolves
shows
hard
and
140
a
of
to
two
is seduced the
model
oil,
a
is often of
is
features,
dismayed
strokes
of
within at
ment. implein
portrait
one
meagre
for
painting
a
of
keep
ing. paint-
into
one
outlines
broad
to
implement
then
the
which
well
is that
work
point,
chalk,
or
which
for
an
the
pencil
expression
pencil,
use
characteristic
exercise
under
a
or
work
firmly drawn,
if
with
charcoal of
rule,
a
be
must
be
student
dividing
made
complete
find, disappear
"brush,
thus
brush,
With
doing
as
it will
a
nay
without
preparation
confronts
always
not
painting
and
exist,
in
yet
conceded,
be
form,
useful
must,
does
by
to
often,
very
may
colour
to
commencing
advice
after
said
he
Assuming
to
of
search
drawing
a
brush.
a
into
the
than
?) the It
difficulty which
The this
it
constitutes
what
"discuss
hear
study
be
hardly
can
students
of
careful
by
before
success.
ensure
guarded
drawing art
because
(or
demanded,
colour
careful
a
the
the one's
edges,
15 C
I ON
141
c
c
^^
5
-Q
3 O ^
C c
ti o
c
-I---'
6
142
J
DRAWING
and,
AS
the
PREPARATION
A
PAINTING.
FOR
145
tours being held up to the light,the conhaloes surrounding the forms, indicating as appear absence of of paint, and an consequently a poor way technique. painting,a wretched of Now it is preciselyalong those contours that much the work lies. Here the "passages" of colour, where are on
colour
and
tone
The student change or pass across. weld his edges, here melting into a broad ment, envelopIn there being brought sharply together. the of Velasquez as already mentioned, the contours
should
Venus
of cheek round
and
the
these
canvas
shoulder the
knees
areas
are
edges
edges, it will
another
medium
suffer.
premier," or
in
remains
a
that than
worse
be
must ;
the
painting is
successive detailed
useless.
seized
upon
in the
stages
initial
as
placing made
an
matters
drawing
the strokes
of the
charcoal dusted
should out
"au
the forms
here,
for haste
excuse
with
not,
written
Nothing
finished
be
to
or
be
if need
fact is
however, ness careless-
carefully be, until
of the planes,and significant
direction another
student,
of
the
as
is
and
not
Especially should
and
forms
been
have
which "portrait," method
is interested
painting that a preparatory drawing in seen be a positivehindrance. Further, earlyon the details,his planes will
the
considered, and lines
be
too
Whether
well
are
student
may
if he concentrates
in passages defined, because
sharply focused.
more
Therefore, if the of his
blurred, whereas
are
showing the general their proportion one to
settled.
often
the
should
This
case,
is
is not
easy
gloating
be achieved, however,
consist the torse
in
over
if the the
by right
tips for securing likeness. be considered.
It is in work-
DRAWING
144
FOR
STUDENTS.
ART
reallylearns the background, they afford to paint : for, with ample The wherein the brush. to wield planes,of course, space and in the head to be seen also, but they are smaller are not are more complicated. Unfortunately, students seldom so preoccupied with the portrait that the torse ing
these
out
receives desire
but
to
a
broad
planes
small
share
make
a
the student
that
It is
of attention.
portraitrather
than
perhaps the to paint that
learn
to
distressingmedley of colours on face and the beginner'scanvas. Colour, on body often seen instead of being united, is isolated, in spots of many hues, unrelated, like a patchwork quilt. But the study of colour, like that of drawing, should itself first concern with the big facts. The novice fails to see that every has a complexion varying in each individual case, person and and showing not only in the face, but in the hands in variations are made throughout the body. Whatever in relation to local colour should be carefullyconsidered the this general hue. the value of painting from Hence human tions figure,giving as it does practice in generalizain regard to colour, and in looking at colour in the for main search just as in drawing, it demands mass, brings
the
about
directions
and
chief
planes to
the detail should
which
be
subordinated. When
study for oil painting is being
a
should
charcoal
first be
the relations the forms, all details can
then
extraneous
umber
be
of the
rubbed
on on
search
to
masses
and
out
the
position, com-
the directions
of
being disregarded, (fig.39). This
lightly dusted
matter
and
used
prepared,
the the
canvas,
off, so and
as a
paletteuntil
to
brush
leave
no
dipped in nearly dry, may
DRAWING
be
AS
employed
to
A
fix the main
stage further.
a
the surface
paint.
so
This
in
where passages
turpentine may is
may
in
water
preparation are
according
seductive
muddled
most
dragged
of the
over
with
canvas
drawing
in
and
between
sharpen
to
That
making
painting, as drawing
a
The
a
is
drawing
pencil, the
with
the
lead
leads
the
student
to
of colour
make
a
resulting
fusion conperformance. This sharp distinction between
earlier it has and
the
paintingbegins.
clearlyseen.
inartistic
of
that the evil effects of
colour
itself,the addition
and
the contour
is, the whole
in line before
tradition
to
from
comes
made
be used
influence of which
study comflete a
be
should
the tooth
required.
be studied
It is however
in
fillup
the preparation
carry
broad
contrast
done
brush
145
courages edge suggests envelopment and disbrush tight painting. If desired, a clean
dipped
bad
to
PAINTING.
forms, and
The
not
as
FOR
PREPARATION
shading.
paintingis painting,it is better to used as drawing, especiallywhen
been But
consider
to
seen
whereas water
be
oil
colour
a transparently on white which should be practised by surface, a method student before attempting gouache or mixed every All judges speak of water methods. colour drawings, and in the earlyartists' colourman's catalogue, the water which it colour brush is referred to as a "pencil,"a name would be useful to resuscitate,for beginners seem to regard a brush as an implement for sf reading or flooding
colour, ignoring its chief merit and show
most
even
the
noted
here
of
the
same
care
pen
in
obtaining,a
in incisiveness
that while
shape
its makers
flexible and
in the west, are
which
one
point surpassing be fluency. It may
one
generally
or
two
considered
brushes, all sufficient
DRAWING
146
FOR
the
equipment
by
brushes
made
ART
student
of
STUDENTS.
water-colour, in
Japan
speciallyfor certain effects,wide flat brushes for broad washes, long pointed ones for drawing and writing, etc., so that the outfit comprises many are
brushes. It the
might be mentioned,
proud
have
of brushes
owners
long for
that while usefulness.
their
outworn
brush, the point of which used
also, that students
rough work.
has
For
effective A
often once
watercolour
disappeared,
successful
are
only
can
be
student
drawing, a
periodicallyadd to his stock of brushes. The Japanese painterdoes no preliminarysketching. He makes his drawing, and backs it up widi at once washes of colour. The western student, aiming at other results feels the necessity for a more tentative method, and certainly, if the caution that he is throughout making be insisted on, there is no reason a drawing in colour why the pencil preparation should betray a lack of unity with the following stage in colour. And it is to be a drawing as must
in transparent
done
rubbing be
to
oil
or
more
washing
out, there is need
intimate
and
complete
for this
than
without
preparation
in the
of the
case
study. students,
But
colour, have
a
are
prone
notion
makes
a
ever
to
anxious slur
every
time
of definite
mark
to
indulge their
this
over
that the strokes
forgettingthat
taste
in
preparation. They
of the brush
it is laid upon
shape, whether
need
not
the
dark
show,
paper or
it
light.
of insufficient preparation occur frequent cases outdoor landscape composition, where the boundaries
The in
colour, directly and
most
of the forms
are
hastilysketched
without
regard
to
their
DRAWING
AS
Structure
or
students studio
are
A
PREPARATION
their
edge
faced
with
work, from
the
fresh
has
such
still life,the
figure or
simplicityof the forms
147
study the complication. In their In
contrasts. a
PAINTING.
FOR
allowed
of
tive compara-
plete fairlycom-
a
rendering. But out-of-doors there are numberless small shapes which, though merging into largerones, yet distract the eye by their multitude and complexity. The multitudinous trees, cloud
forms, Often
beginner. and
forms, such
blades
as
etc., present
he
inartistic fashion
solves
the
a
of grass,
real
to difficulty
in
problem
by stroking,spotting
of
leaves
a
the
utilitarian
or
dashing
irregularsplashes on the paper to imitate this apparent and in the process loses the orderliness, the irregularity, of leaves and series, the radiating arrangements branches. Here
insistence
an
the student
from
is it to
necessary
likeness
be
must
a
rightpreparationmay
fallingtoo low
that the
be shown
can
on
more
search
in the artistic scale.
complex the subjectthe the significant forms, out
got through choice
and
not
save
He more
that
through
'dashingthe brush on the paper in the hope of securing happy shapes, and that everything that is to be coloured Some of Turner's unfinished firstbe plottedout. should from this point of view. drawings should be examined and Such importance did he attach to a good preparation, so
drawing coloured shows work
his colour
was
sure
in
that he not
pencil,giving all
it when
away
from
the time
the
a
reallyprepare drawing painted over.
beginners'work
one
seldom to
subject.
that his lines is not
In
sense,
often
for the
finds
made
his
this stage, and Close
scrutiny colouring; the
pencillingwhich
DRAWING
14-8 is of
STUDENTS.
rather
colouring,but
the
to
use
no
ART
FOR
carelesslyand with of the subtlety that takes no count a profusion of strokes of definition. of the brush point and its power Shading especiallyis out of court, leading, as it does, to dirty features, hands, etc.,
sketched
hindrance;
a
are
in
colour. On
all should
carefullydrawn, for instance the space for two hands as clasped in the sitter, (fig. 40.) Every portion lap of a female of the be prepared, the main composition should masses
the
other
and
their relations,the directions
hand,
position of details,such
the
indicated Such
without
be
the features, should
as
being completed
brush
to
full
play
its
in
charming
be
pencil.
a
composition, gives
connecting lines, and
the
of
in terms
preparation strengthens the
emphasis
of forms, while
power
finallygives the of elaborating
detail.
pencil work,
The 30
long
as
it does
not
of course, interfere
with
carried
be
may
the
far
very
right function
of
the brush. A
simple
41), and oil
exercise
it may
noted
here
to
for water
be considered.
colour
That
a
that
painting, revellingas it does
quite unsuitable are
be
be
would
(fig.
still life group a
suits
subjectwhich
in rich dark
colour, is charm
if its qualityand
is to say, if the student
is to
given opportunityof studying his medium, in this case should colour, the masses approach lighter tone water be
rather are
than
darker.
Rich, glowing hues
in water
only possibleif the study is kept small Finally,the
contour
of the dark
within, that of the light,outside
area
the form.
colours
in scale.
should
be drawn
colour
of stilllite with a pencil The stud)preparation. or pencillines are emphaticwhere strong passages occur, but are lighter the of of the The to even according degree envelopment edge. disappear is not a drawing, but a preparation. pencilling
Fig.
a
I
A
water
*l "^
/r
"
/I 7
^1
Fic,
^2
"
A
drawing b)
Holbein.
150
[Windsor
Castle.
CHAPTER
XXI.
CONVENTION.
Hitherto
"Is
appearance.
always be
student's
discern
is
mass
of
outlook.
artistic
insisted
on
indeed,
the
'dark, yet
of
in
cautioned
that
that
inartistic. control and time
set
down
has
now
beginning, form
of
select necessary
art
and
of
the
figure,
in
that he
the has
revealed
are
pose
these
the
pages
fidelity in
that
to
assumed that
some
for
co-ordinate
simplifications
will his
that
of
compel
facts
which
151
in his
art
him
been
only
has
is the
still
harmony demands,
to
vulgar
subject
this
and
impossible,
selected
convention
practical chosen
see
his
his
and
light
student
face
can
to
the
been
has
leads
essentially
precision him
is
nature
that he
by
student
direction
presentment
come
level
planes
its
the
low
the
vision,
with
his
has
if it be
his
over
reveals
that
nature
absolute
But
shown
can
eye
to
of
pseudo-photographic
the
truth
attempt
any
been
must
Though as
constantly
selection
that
detail
on
though
test,
everything
it has
based
as
the
proviso
unselected
beauty
treated been
draw
and
far
so
has
To
impossible,
been
the
by
aim.
beginner's
and
it like?"
accompanied
the
has
drawing
a
and some
calmly
facts,
the
only
the
particular further with whether
to
the
it be
painting,engraving, mural
Of
drawing
course
of
portraitdrawings added
studies
as
of what
is
custom
of his
his
business
transfer
features
them
very
good
one,
limitinglines
did.
have were
a
understood of
forms
is
canvas
if he
as
is
of the face.
the
to
might
typicalinstance Holbein, following the
Here
the
master
to
certainly drew actual
a
The
for the fact that these
but
convention. and
day,
itself.
One
that.
tion. illustra-
or
in
end
an
Ingres show portraits.
by
meant
especiallythe to
for
decoration
be
may
of Holbein,
those
made
be
STUDENTS.
ART
FOR
DRAWING
152
a
his
portrait, intended
he
Whether
it to
He
secondary matter.
What
wanted
he
all including subject'sfeatures the construction of the planes was subordinate to while drawing these boundaries that,and in consequence, with the most scrupulous care, he ignored in a great of the and necessarilyso, the give and take measure, and backward lighting, the envelopment, the forward of Sir in the drawing Thus of the edges. movement with a firm line Elliott Knight (fig.42) the nose is drawn the general throughout, though it is certain that under condition of lightingthat part of the nose seen against the
cheek
would
accented
line.
a
form, and
it
worked
enabled
seems
as
him
of refinement. for instance
be
of
supply
wanted
to
intention
itself.
subtlety
Almost
vision
Holbein
conscious
created and
"
in actual
But
without
convention
delicacy
not
of his
the
was
Within vision
to
see
If the
examined,
and
be
seen
what
with
which a
he
mum maxi-
the closed how
!
discerned
under
represent
his
part, his
limits
be
can
of
sure
his
these
line between it will
be
on
if the restrictions
strong and
so
lips
it varies.
CONVENTION.
how
unlike
it is to the hard
would
assume
to
form
the
out
point
of the
ends
two
forms, with
this
It varies
purpose.
length,sdftening here, tightening there, far from drawing it as a mere line, Holbein
especiallythe his
might ignorantly
one
suffice for Holbein's
that
searched
wire-like
its
throughout
showing
153
line
of it.
like result.
a
that Holbein
out
One It
below,
above,
and
might examine ungracious
seems
is uncertain
all after of
sometimes
alignment of his features, that he occasionallyplaces the eyes too the high, and that he frequently makes further eye too large,while noting however its distinctive
the
forms.
Starting assume
a
convention grace
have
then
for
and
a
his
The
beauty.
referred
definite end.
sculpture,and attain
Holbein's
method
priorithat each form of art of drawing, which has linked
already been
made
from
in them
ideal.
He
They are
seen
demanded
demands with
examples
as
mainly
are
the the
master's
might its
it a
of Alfred
sketches to
we
of
own
ent dependStevens
drawings
studies efforts
for to
highest degree of
drawing his figureswith solidity and weight, plasticity, for they were into stone bronze. He to be translated or ignored the accidentals of light and shade, and rough hewed his figureswith broad strokes indicatingthe actual as a biologistcuts up his tiny bone into structure, much of sections,or a geographer constructs a number a relief lines, (figs.61, 62). by contour map the movement was important still to Stevens of the meticulous his of exactness figures. Here forms is replaced by a rain of lines,one Holbein's might in, but always with the aim of securing the say scribbled More
DRAWING
154
freedom
Utmost
FOR
of movement
lines,say, of the back several for his
ART
positions.
and
twice
In
a
word
He
poise.
moved
thrice,he drew
or
artistic purpose,
own
STUDENTS.
the
used
master
made
of it
an
the in
arm
drawing
tool to express
a
his ideals. Each
form
be taken
and
suited
pictorialrepresentation in turn could shown from to demand tion drawing a conven-
to
of
its needs.
The
etcher
planes of his subject; he makes the eye, foreground forms near delicacy
that
shows an
his
distances the
drawings
etcher; without
acid
bath
it is
not
float
the
seizes
use
of force
but
with
from
have
been
likely that
the
delicacyof the more rendered so directly.
the
distant
it.
of the
parts would
his
tenderest Fig.
made
43
by of the
prompting
force
great
hold
to
the
away
sub-conscious
the
on
darks
and been
have
Similarly fig. study for an etching shows 44 a with the resources of the clearlythat it has been made craft always in view. The foreground great sign and the darks dominate the composition, while background it lightly is kept tender and quiet,as would happen were bitten on a plate. But more than this,there is the knowledge of the limitations of etching,that it is a convention and not imitative process, that it depends on variety an of line and shape, hence insistence on these. an Every in the background has its individual window treatment : no
two
degree
are
alike ; also many
of finish than
for it is
the
parts
etchingwas
worked
to
intended
to
are
impossible to put the whole of have than must more etching; one needling the plate from a drawing.
a
a
closer
display, drawing into an
one
can
use
in
C
" .
"^
-i"J
T3
U
"^
G
O
^
O
flj
m
^
'=^
s
rt
-5
'55
"u rt
^
^
Fig.
j|.4 A "
Jr,u\ingin
lead
penciland black wrapping paper. "
56
chalk
"//
nn
ife
p.,
cream-colnurcd
CONVENTION.
The
historyof
further of the
of the
their work
convention based
with
engraver
being
followed
with and
form
In the dark
by lights.
areas
line in the
associate
we
way
they emphasized line. Examples of
lightareas black
of the
in old volumes
seen
"Good
Words,"
Phil
May,
might
omission
throwing
off
hatching
cross
insisting
forth
in these
Bewick.
their forms
that dark
in
white
the
But
in the
clearlywith
illustrations
these
or
more
pages,
by darks, and areas they used with
still
though
that followed
"Gornhill," "Once
a
may a
the be
Week,"
etc.
who
built up
sometimes It
his
illustrators
freedom
one
closelywhat has been set is expressed in lightareas
less
in
vides pro-
facsimile, yet found
in
one
necessary,
The
lines, though
ruled
aids and
white
and
succeeded
had
that of Bewick,
on
in black
of convention.
early sixties,who
tools, mechanical on
illustration
examples
the thraldom
157
omitted
an
the
own
convention
line of the
ination, elim-
by
white
collar.
retrogradestep, for the objectivevision which contrasted
be said that this
suggested
his
was
a
But oddly with the rest of his very abstract convention. he perhaps considered it as a joke, or more probably it assisted in giving that looseness and freedom he which desired. His
misleading to young students who think that they can do easilythe same sort of thing, but disclosed his method as by his friends and himself is another drawing necessary to example of the strenuous the convention he really drew most employed. He the drawing with minutely and carefully; then went over his fat
work
is rather
line,omitting details,or redrew
from
memory.
A
DRAWING
158
friend
told
FOR
the writer
of
ART
STUDENTS.
policeman posing in May's studio. The artist made drawing after drawing till the floor was littered,then, the sitter paid and gone, another made drawing was embodying the character as learned in making the previous sketches. The methods two both
employed character
led
a
the
to
result, insistence
same
by qualityof line
and
omission
of
on
superfluous
detail. If the
subject be
that of mural
the flatness of the wall
composition, lights and be
darks,
followed
which
One
naturallyturns
the
thirteenth
without
necessitated
of
Thus
impossible. work
in
the stillsoft
times.
shade The
and plaster,
fresh
on
in
of
work
outline
the
same
militated
plaster had
to
plaster manner
istic against real-
had
cartoon
the
painting
damp
time
the
if such
even
the
practiceof There
or
short
a
forcible
conditions.
The
contour.
conditions
the
lightand
in those
above
fresco, the only method
proceed with some speed, for in dried, rendering further progress
trated concen-
and
centuries.
other than water,
serves pre-
representation must
the
fourteenth
clearlydefined
a
colour
of
the Italian traditional
to
and
vehicle
of violent
or
harmonizes
technique of buon
the absence
by
convention
a
painting,which
been
stood under-
traced
was
colouringproceeded
on
without
delay. Unfortunately the climate declared
unsuited
to
this
of
simple and
although Mrs. Sargant Florence conditions of the ordinary weather indeed. She points out that pure districts with
a
great cities has been
our
high rainfall.
Her
beautiful
technique,
that
asserts
this country fresco own
it stands well
very
flourished
frescoes
at
in
Oak-
CONVENTION.
ham
and
elsewhere
have
satisfactorily.The succeeding stylesof the craft wandered Mural
stood
influence
of
test
of fresco
this climate felt
been
has
by
time
a
dangerous paths of realism.
in the
painting then
the
painting,although for
mural
of crafts where
number
159
be
may
taken
as
drawing is viewed
type of
the
without
a
ence insist-
emphasis is laid on of light being the accidents the line and structure, ignored. Moody's interestingchart of the styles of lightor shade,
on
paintingshould he shows
be consulted
that the
of the imitative broad
simple
Florentine This class.
lightsand
the
in this connexion.
In this
darks, sparkling but spotty,
with panel pictures contrast melting into the light, of
Dutch shadows
the the
frescoes.
supplies the While
which
rather
or
clue
students
drawing practicein the life studying the principleson
to
are
the
is based, it is representationby appearance well to make the problem as simple as possible,avoiding have complications of lighting. These arrangements been noted earlier. The lightsshould be kept strictly in one direction and limited in area, so that the planes are clearlyseparated by lightand dark. But
the
advanced
student
should
conditions. figureunder less restricted should be expanded so that it envelops the strength of the dark planes, and reduces the
small
spotty darks, while
the contour
to
prepare
becomes
The the
of the
early Florentine
it lighterthan darker
than
the bulk
more
the
masses
of the
are
pletely com-
ground, back-
lightareas
of dark.
frescoes, the backgrounds
light figure,
eliminates
visible,this being assisted by varying the
making figure,or
study
In the
generally
i6o
DRAWING
in
light
while
tone,
Pompeii
light
and
understood
to
than
the
the
colour,
in
still
are
of forms
for
ever,
But
movement
them
on
strained con-
in
reduced
contour.
and
structure
but
be convention.
linear
a
there
the
to
will
student
extent
some
shade
that
frescoes
the
them.
subordinated
and
of
rich
or
conditions
adopt
light
tone
against
to
The
in
such
Under
STUDENTS.
ART
backgrounds
the
dark
are
telling
FOR
should
it
are
be portant im-
more
will
success
sity, inten-
mainly
depend. It
is
forms
of
ever
conscious
path
who of
to
order
will
achieve
mannerism
will in
with
he
the
he
what
facility and
what
of
do
study ;
be
conventions
see
complexities
new
draws
to
student
advances
conscious
inability one
he
of
more
in
art
heedful
as
the
investigate
to
plastic the
plays; But
needless
and
stereotyped
that
for
of
drawing,
better
his
limitations
ease
and
is form.
he
and it
on
himself.
draws
he
the
is
other
drawing
part
the
desires,
of
well, downward
is the
his for
CHAPTER
DRAWING
FOR
There
comes
school,
has
He
to
is
which he
is at
he
be
may
to
is build
regularity
the
and
which
art
little
a
the
has
portrait
both
on
professional,
time
be
to
turned
be
done
painter the
is
and
temptuous con-
classroom.
the
bond
In in
in
or
same
vocations.
worker
from
freedom
his
It must a
attitude
unlimited
draughtsman,
newly-fledged a
be
of
longer
work,
he
In
feeling
no
his
discipline
a
?
promptness.
heavy
merely
becoming
his
whether
lies
as
precepts
with
advertisement
necessity
words,
and
of
and
first
at
methods
stages
it
study.
sculptor,
as
is
his
of
period
What
regard
for
leaves
whether
emancipated
professional
the
hack
merest
he
his
word)
career,
happily
the
fashion,
some
of
a
up
with
out
Does
student
the
designer.
pardoned
now
the
art
or
last
of He
his
?
drawing
when
(save
finished
illustrator
towards
ILLUSTRATORS.
time
a
begin
painter,
XXII.
other
danger
ceasing
to
of be
a
student. But and
if the
stimulated,
faithfully attitude
of
student's if
pressed mind
logical
can
form
methods
him,
upon
which
in
interest
never
i6i
he
of will be
has
been
work have
eradicated.
aroused
have
been
acquired Granted
an
1
DRAWING
62
specialconditions of his life work are onerous, yet the artist they tend to crush the artistic spirit, and almost mels, degrading tramsuperiorto commercial and produces good work in spite of, perhaps
the
that
that rises
of these fetters. Of
because know
his
all
with
his
use
possible precision,the illustrator
must
brush
and
pen
work,
art
him
that
That student
is his
art
is to
and
depict
editors
But
in
world
"
will not
includes
fail
to
he the
people
in
the
look
life
was
for his models
searching for type book, but his to to
him.
Thus
need
of
reminds
memory
a
panion. life-longcom-
is asked authors
by
artistic motive
and
effect.
despair, for the poorest in the interestingmaterial has the illustrator's spirithe not
most
His
his
chosen
often
to
eye
be interested
room
interesting un-
remains
his craft, he
in his
will be
possible subjects for
are
how
touch
and
him
in the
artist,will
an
the illustrator,who
if he
and
interestingto others. all
at
incidents any
that
"
or
paid for, some
drawing will be
without
people
is
sustains
studies
and
spite of
situation
he
for instance
scenes
and
which
be able to
career.
such
Take
he
is
duce pro-
plate
a
beyond that,
worker, if he
what
him
say
as
the
must to
bite
poorly paid
how
matter
be,
spiritwithin
But
freely.
no
give something above
know
must
worker
be able to
it may
the
art
every
how
of the
doing
course
portraitpainter must
The
job.
likeness, the etcher
a
to
STUDENTS.
ART
FOR
work, a
and
make
busy life,for
to
it
him
pencil. His study he must only the beginning ; now will everywhere. He always be
and
character.
his
He
may
use
trainingwill be of still more
the lot, the
study continually and
a
sketch value
happy lot, of the illustrator is by remaining a student, his
DRAWING
work
will
show
FOR
163
ILLUSTRATORS.
increasingcharacter,
and
freshness
pliability. The
designer on
for the search
for form.
birds, clouds, lines are
all his
of
in
All
branches
show sketches
of
art
The
will store
will make but
the
them
it matters with
not
if
form.
of
stable Con-
the momentary
structure,
with
great
studies
is to
obtain
actual
Holbein, but the
the
on
dependence
same
pencilstudies for
people,
and
unexpected Gainsborough suggested
new
drawings of the composition and arrangement, and enabled him to revise his ideals freely, unhampered by the fetters with which laid upon the canvas and left to oilpaintonce and alter. The to choose dry binds a painter'sfreedom have been already referred to portraitheads of Holbein as an example of drawing put to a direct practicaluse by the painter,and certainlyfew portrait painters like to attack a canvas without Reference preliminarystudies. be made to the masterly charcoal drawings by Mr. may Sargent preparatory to painting. Here the material is directness and force, its qualitiesbeing exused with ploited movements,
while
his search
and
worker
stored
exhibit
his interest in tree
of Rodin,
animals
lose them, the mind
necessity
of the field,insects,
sea,
others
numberless
this
accept
methodical
quickened, and
drawing.
upon
and
The
and
must
flowers
portfolios ; the
envelopes
the eye is
The
of land
province.
his studies backs
his part,
skill.
The
character
investigatethe outlines as
a
means
for of
personality,searching
evident
the
of the
of the sitter,not
tracing as getting into
for
intention
in
the
forms
and
of
case
close touch
to
with,
accents
1
FOR
DRAWING
64
STUDENTS.
ART
Ukeness
and
character.
when
exterior
Lastly refer to an one immediately practical form may of of illustration. The number publications and ing magazines devoted to engineeringof all kinds is increasIn regard to the illustrations and will increase. so required, photography once depended upon is proving failure, for its focus just misses the precision a dark it becomes required, while impossible, when which
give
interiors
at
have
to
assumed
are
growing the
appearance of
The
able
to
express
mechanism
as
the
formidable
the
apart from a
say,
becomes One to
and
from
work
century,
to
may
the sham those
structure.
of his
use
pencil,
pearwood
drawing
how
a
curves
machine
precision the relations of valves
gearing and
the it
student such
means a
clear
in
seen
spective. per-
grapple
can
subjects present,
brings about articulate the
such
its
expression, That
drawing.
the hands
own
of
an
is
artist
of art. the
himself
what
matter
his
difficulties
with
mechanical
and
squares
the
returns
interest
mechanism.
unaided
practicalvalue of drawing of machinery in a
coverings
of
well-trained
simplicityof
convention,
to
with
elaborate
Only the
tee
the
explain in
works, and
while
by
quadrants,
be
show
and
perspective,geometry
without
with
to
convention
new
draughtsman
must
or
drawing machinery is demanding a high degree of appreciationof of things togetherwith sound ledge knowa a
up,
be revealed be removed
to
Therefore
once
truth that what
in is suitable be
ruins
for
the artist chooses
expression no its nature. We are emancipated and picturesquenessof the i8th
mannerisms
art
of the great Italian
stylefrom
DRAWING
165
ILLUSTRATORS.
FOR
i
Botticelli
onwards
losing
its
which
time
to
hanker
instance, find
may
close
world
of
divided
express
of
trained
in
a
new
the matchbox
artist.
the
for
forms.
students
study
No
are
using century,
tax
the
own
drew
ings build-
And
to-day
of
drawing world
for
longer
need
the and
interesting their and
material.
commonest
their
the
categories,
fourteenth
would
the round
travelling
two
in
them.
saw
and
Trecento
They
they
as
material
into for
Italians form
picturesque.
stimulating
commonplace, the
raw
without
and be
the
suitable
hand
at
strange
after
the
interested
too
were
while
appropriated
ages
Italians,
early
artists
for
we
The
spirit.
Quattrocento
later
find
Even
powers
as
eyes
interest
to
of
did
the
fully best
CHAPTER
DRAWINGS
THE
first
The to
in
district,
race.
Much
being
in
The
Kensington. on
of
ceiling
the
Altamira
in
Northern
of
the
the
finest
the
preoccupation had
hunters,
of
races
and
of
and
the
not
than
possessed
that
fire, and
cave
paintings,
bone
and
ivory
of
with
this
animals of
ponies
practised
of
man
whom
fabricated
he buried the
sculpture,
his
dead.
scratchings represent
1
66
They
for
physical
in
But
of
modern beetle
earlier is
nothing
known
implements,
stone
all
Practically on
ception ex-
pottery
no
the
were
doubtful
equal
with
show
They
the
the
were
of
cave
among
period.
tillage.
confused
the
art.
period,
the
animals
other
instanced
with
no
they
be
Neanderthal
be
South
at
of
early
this
men
capacity
must
and
may
of
domestic
rough
brain
and
browed other
the
from,
drinking form
no
of
Spain,
series
a
Museum
chambers
these
to
common,
bison
Dor-
Palaeolithic
paid
History
the
examples
been
are
man
the
and
later
fairly
are
of
one
the
late
paintings
by
Pyrenees
of
Natural
the
paintings
by
has
reproductions
view
on
the
tenanted
once
attention
and
works,
of
caves
MASTERS.
and
drawings
the
dogne
THE
OF
known
found
be
XXIII.
bone,
animals,
and
though
the the here
"t.(tiJiJ'"Si"
-.!.
.
" a
e o u
.'I* rife:'. --
oil.
.
167
"
-
(I
fii!ra!^jt5ilgngl!l!TM?pi]iM^P
Fk. are
etc.,
46.
A
yet
brush
"
puzzling the
details
drawing such
purity
of
as
from
the
line
a
and
Athenian
white
smallness
the
of
the
vase
man's
suggestion
of
(c}rLndrical).
hands, form
the
should
be
of
his
feet,
closcl}' studied.
[British 168
there
Though
parallelism
Museum.
THE
and
there
DRAWINGS
found
are
THE
OF
MASTERS.
of female
statuettes
169
figuresmostly
in form.
gross
The
roof
of Altamira
is covered
with
full-sized
oured col-
drawings of paintings of animals, bison, horses, and pigs. They are outlined in black and washed with red, brown and from yellow pigments made
deer over
various
iron of
have
and
proportionand been
never
used
have
while
to
in
nothing
a
of movement the
the
express
show
They
freedom
a
surpassed
conventions
growths,
earths.
manganese
which
extremely simplified with
hair
and
structure
common
rectness cor-
the
childish
The of savages. livingraces placing of the legs is practically in accord with photographs of to the artist's quickness of eye moving animals testifying ings drawIn particular and keenness of observation. some scrawls
of most
of
mortally wounded their legscrumpled
with
the
over
memorized
a
back
bison beneath
show
phenomenon
in the last death them well
how with
and the
the tail vibrating
draughtsman
he must
which
spasm,
been:
have
perfectlyfamiliar. Other
famous
deer The
drawing
Hunters. animals them.
horses
of the
on
are
the
the walls
reindeer, from
of
drawings
of
caves
and
moths, mam-
bone.
on
Thayngen,
and
the
crossing a river, from Lorthet, {Ancient close observation of the a Sollas), show and a certain ease and freedom in representing knowledge of one They reveal the anatomical his prey, repeatedly skinned and dismembered
red
three
who
has
the
habits
so
and
examples
deer
and
movements
study. And primitivethat
these
of which
drawings
like the beasts
have were
been
made
his lifelong
by
of the field he had
a
man
to
go
down
he
though and
river
the
to
the great
certain
extinct
with
On
risk the the
humorous
said
here
sabre-toothed
strange,
he
whom
be
drawings,
tiger
enormous
is sometimes
that
tilian repassociated
had
become
before.
what
much. in
modern
ages
Of
to
bear, yet
cave
creatures, in
had
have
may
It may
drink.
to
STUDENTS.
ART
FOR
DRAWING
170
call
we
the roof
composition we at
Altamira
must
not
the creatures
expect are
fitted
being superimposed on closelyas possible,some others, the idea apparent being to give the impression of Elsewhere a we great herd. get the usual panoramic in the Egyptian and as composition of early art much casionally Assyrian freizes. One animal follows another, and octhere is a somewhat impressionistic representation of a herd of horses or deer indicated by a row of heads would and forepartsmuch as one see glancing along the front rank. as
What
strikes
is that
one
rather than be
that
desires of the and
the
artist
art
consciouslydecorative. connected
of his
appetite,much objectthey desire say
thus
this earliest
his
a
picture with
children, in
as
boat
is sentational repreIt may
or
the
the
absence
doll, will draw
it
satisfytheir craving. Apparently this early man desired his drawings in line and colour to be as like as possible, which is perhaps why Mr. Clive Bell dislikes them. be symbolic They may even of food to be used by the soul after death as in Egyptian also exhibits exceedingly well-drawn animals. art which But in Egypt had grown ancient civilization up an where the priesthood ruled and prescribed minutely the conventions
to
some
of the
extent
forms
in the
paintings
which
min-
c;
"
.5
u ,"
17"
S
c
Fig.
48
"
A
eyebrows and too
drawing b)' Holbein. the
line between
the
Great
lips.
care
The
has far
eye
been
given
appears
to
Museum. [British
large. 172
the
somewhat
A Certain forms which were drawing by Holbein. evidentl)' 49 deemed essential to the likeness have been careiull)redrawn with a hard
Fic.
point on
"
the
nostrils and
thin
the line
films
of
charcoal
the separating
or
chalk.
lips. "73
These
are
the
the eyelids, Castle. [Windsor
Fig.
50
"
In
than veracity
Tedeschi, a could
this
drawing by
the fanciful armour, known model to a
only have
been
drawn
of
Leonardo and
da Vinci
bear
the|features have
more
great resemblance to the elder of generation art students. Such a profile an
Italian
"74
a
by
an
Italian.
Museum. [British
istered made the
to
DRAWINGS
the
national
Egyptian
down we
if
see
of
the British
drawings,
and
birds
in which
attention
of
the work
and
dogs
the relief is
men.
clearer
a
Their
horses
as
reproduced
people
are
eye
in
a
baboons and
and
simple
same
The
bas-reliefs or
ter, alabas-
hurry,and be
often
considered
convention
as
of the
brawny frame,
a
have
when
than
good,
the
in soft gypsum
so
with
laid
who
especiallythe
slightthat the work may a drawing. Here again there is a human figure,with swollen muscles on and again also the sculptorsseem to animals
those
the
proportions, structure
cut
are
victorious
a
however
Dead,
as
Museum of
portrayed in
in consequence
they are in much convention used by the cave as was men. a parallel course. Assyrian art runs
in the British
been
Authorities, or the wall paintings
the cats,
drawn
movement,
has
was
of the
lifelike in their
are
man
175
Apparently
book
the
Museum
and
Reference
and representation,
consult
we
religion.
the
escaped
the rules
MASTERS.
of form.
canon
had
THE
OF
the way
already to
animals
by
THE
looked
at
they attempted
their lions better,the
is depicted a lioness being the slab whereon dragging herself along the ground, her hind quarters (fig.45.) She is having been paralysed by an arrow, most
famous
roaring,the
skin
relief is little that down
the
more
artist must
with
inquireswhat their last the
i inch, and
than have
witnessed
the
line
of
drawings were drawings are
artists have
can again one this sight,and
his memory
successive made
by
plain to
become
The
in agony.
wrinkled
nose
convincing clearness
Following
At
of her
vision
see
interested
on
their in
the
set
of it.
nationalities the Greeks.
say
one
tunately Forvases.
forms
FOR
DRAWING
176 of
and
man
though
we
than
a
little more
was
will
convenient
be
backgrounds
called
paintings but they
them
of
worked
have
time
with
(fig46.) both
drawing
has
The
the
features
with
out
The
are
necessarilystringentto
long step
a
Once
more
of
the convention
form
a
the
degree
the
parting of the
the
gothic tradition
one
ways
of
comes
"
^Albert
the
to
^that of
"
Durer
"
of
being
material man
stained
leads
forms
the
but
the conditions
the
to
specialqualityof
the
in the
line is still there
is subordinated
step, and
ence. rever-
stiff fingersimplore,
craft of which a
serve
they fill
until
window, the angularityof the medieval
and
ities necess-
figure is hidden
draperies. The
now
Another
is
sentiment.
and
command.
or
out
turn
his line with the utmost
the medievals
to
it is
with
to
of the
out
expanded
are
stretched
lines of the
The
had
grasped by the priesthood to figurehas to express hope, fear,
face ; the hands
glass.
draughtsman
been
religion. The
deprecate,
he
;
arose
used
regards technique
as
long
speed
He
the Greeks
From
are
draughtsman's soul was all the the point of his brush, which duced proand utmost sensibility. flexibility
on
line of
a
They
his
his eye,
concentrated
The
study.
some
occupation. but
economy,
in.
are
his convention
quantity, and of his
painted
not
are
closest
the
Greek
vase
reallybrush drawings and fluency of expression that makes
and
ease,
worthy
must a
an
paintings sculpture. It vase paintings,
the white
examine
to
painter
vase
best
yet the
the best
the
with
that the
workman
where
done
STUDENTS.
assume
may
little behind
but
lag
ART
"
who who
the
ciated asso-
glass. stood
at
inherited
angular forms, piped draperies
scriptural subject matter,
yet reached
out
to
the
-^
c
o
W
3 SO
" -T3
^ -
I-,
"?
.."
s
"
"U
1J
iT
C
o
:
'77
-Q
xJ
'^-' "aj;'^;
Fk;.
noted.
52
"
A It
chalk is lull
concerned
drawing h) Raphael. 'I'he interest in form should be The of overlapping contours. drawing is hut little the photographicaspect of the model. with '78
""0
f
'.""*"!.. "js"'.i;' "isaa^*;
in black and red cliajk. A drawingb)-Ruhens Fig. 5 3 He the We than darks. certain that the be there was lights by may "
under
the chin than is shewn
lightand shade studymerely; arch,is what he has achieved. seems
alive.
by
him.
the The
But
he
wanted
this
"
drew more
to
be
more
tone
not
a
of the sitter, alert, expression listening, full of is The face drawing vitality. Museum. [British 179
5-1- A chalk drav\ingby Rubens. head to the knees should be noted "
Fk..
The as
descendingfrom the unitingthe arms. [BritishMuseum.
fine line
also that
THE
DRAWINGS
Renaissance, with
figureas
and
him
other
type of
curiosityin
the
which
accentuate
Durer's
might
of
in the
career
town,
things. horses,
in his
want
unclothed of architectural
mass
the as
artist made
an
He he
He
style.
new
had
drew
be the
to
was an
intense
the
ancient
in armour,
men
thing every-
engravings and woodcuts, and
illustrator he makes
an
the
of all his
use
Like
drawings.
Japanese he drew and redrew his subject until he line perfect,and like them he was ing, always simplifyrefininghis line down to its lowest terms, often until
was
it became
a
But
pen.
the result that every
(fig.47.)
were
came
have
must
from
ture, struc-
of Durer's are
studied
his efforts to
the
sents repre-
full of
or
persons. Durer, and
make
his line
possible of the form, the bend of the ankle, the twistingof the neck, and the radiation as
much
toes
or
express or
the
Crane
of
study
to
they be of plants,animals,
Walter
his mannerisms
him
stroke
trick
a
fact; his simplest drawings
whether
anatomy,
motive,
forced simplification
definite
a
wrist
decorative
mere
this
with
of
and
i8i
in the
a
forms
of his native he
as
interest
draughtsman. and as such great illustrator,
world's
roofs
of
MASTERS.
myth,
forms
conditions
the very
THE
its renewed
in classic
seen
The
OF
not
as
fingers,with
interested
the
in structure
result cried
that out
people that
he
who was
deforming the figure. The criticism shows the necessity of a draughtsman constantlycomparing his convention with and
natural
form, of self criticism.
it is the most
He
difficult thing to do so,
should
avoid,
fallinginto
ruts
It is expression,mannerisms, that is unnatural form. student curiouslyenough whose work is full of the young for he seems them from to absorb undigested conventions of
1
DRAWING
82
FOR
ART
STUDENTS.
unconsciously abstracts from of the artist he admires, its tricks of handling, the work revealed close rather than the good qualities only on study. That is why copying is to be deprecated,for this practice does not always imply study. What study is and what it involves students will do well to ponder over. the nursery
Of
onwards.
Holbein he
Durer
was
has
much
the
capitals and looked and
motes
style,with But
acanthus.
forms
new
his model
at
said in these pages.
with
an
its classical
when
Italy Giotto Byzantine manner.
broke His
conventions
eye
cleared
from
away
the
Italians
all
and
But
he took
who
to
be
used
grace,
were
Botticelli has
done. the
It
articulations.
the
of Italian
a
clear
was
power,
animals
are
towards
turn
century
the
tryingto draw and knowing quite how it
been
knowledge
referred
to
much
of its structure
da Vinci
Leonardo
formal
more
and
figureconstantlywith
nude
yet without
and
through the fourteenth
examining nature paint like the model, though not was
aside,
weight and
figureshave
recollections.
naturalism
ings, mould-
confronted
he
and
though his accessories, his hills,trees merest
design
(figs.42, 48, 49.)
beams,
In
the
Like
draughtsman, and could
new
his sitter he put all the and
been
great pen
a
in facility
with
He
with
the
as
one
poetic and
sitive inqui-
of the organizing spiritand full measure facultywho did everything to form what may be called the academic convention, especiallyin regard to light and shade, except actuallyto set up a school of art. (fig. and 50.) The study of perspective,involving shadows scientific
reflections,and to
direct the
of anatomy
study of
art
with
in the
its dissections
same
path.
did much
Fig. line. drawn
Many their
55
This
"
The as
one
pose
unassuming drawingb}'Ruhens
quiet
as
form, and
students do
not
it the
is,is full of action. difficult turn
realize the loss of
and crouching much figures sitting i8j
shows beautiful The
feet should
of the head
lengthin high.
too
such
has been a
rh}'thmof be
noted,
attacked.
pose and
make
Museum. [British
'i
-s
6
P
C
^
O
^
3i
6
"
"1^
i8+
m
^73
^
''"
"'511
'i. i
M'
f:-^'ij
7!
r-\
Fig.
57
"
Note
how
of
One
while
number
the
at two
Ingres' portrait drawings Full
Rome. arms
have of
been the
of
search unified.
form
i8s
of
for
he
which
form
and
F.very fold
beneath.
made
a
rhythmical in the
clothes
."
great line. tells
.V/
' .
p[c. He
'lUl^-.i
58 has
It:a
drawing by J. F. Millet been quick to seize the forms The drawing hanging garments. "
A
chalk
186
which which has
shows
his
from
emerge a
rhythm
method
of
its
the own.
clearly. heavy,
THE
In the
DRAWINGS
drawings
of
OF
THE
Mantegna
MASTERS.
one
spirit. So insistent shading is simpler and more summary
to
the classic
the
convention
whom
Durer
covers
na's the This
easiest
with
section
by the shading
through of
and
while
it does
hand not
etchers. drawn
the than
each
which
of
a
is
gesting sugmuch
Mantegdiagonally, the
across
allow
stereoscopicform
them
convention
a
straightlines
of the
movement
that
draughtsmen, of example. Durer
round
mass,
engravers
consists
realized, almost
the
line
in its method
the chief
as
closer return
a
is the
northern
lines drawn
northern
convention
the
by
be cited
may
his forms a
used
used
sees
187
paper.
certain seen
over-
in work
simple and direct and defines the planes more clearly. The tendency ever since has been to adopt it for the study of form, and lend mediums like charcoal, chalk, pencil and pen themselves to it. Even a modern pen draughtsman like Mr. G. D. Armour it almost uses exclusively. the northern
produced by
engravers,
is
giant yet learned all his could academic teachers his impart, and transformed he drew it was to study by his volcanic genius. When reveal structure, and especiallythe overlapping of coii^ though if he chose he tours, rather than the appearance, with shading in the could load his surfaces correct Italian style. He was preoccupied with the figure as material in design ; he combined his raw nudes, grouped them, flung them togetherin ropes, festoons and swirls, and held togetherby his great line running round torses (fig.51.) along limbs, Michael
Rubens
drawings
Angelo, though
trained and
in Italian
sketches
for
a
methods
made
numberless
compositions; many
of
the
1
FOR
DRAWING
88
latter however shows
how and
smile,
painted
are a
the
him
in
The
Women prance,
of red
masses
Philip and
health.
robust
his
gise ener-
Queen
pleased with
well
When
turns
one
to
of people by Velasquez, a man and therefore more race likelyto realize the different character, very personalitiesare
portraitsof the
their
vivid
work
ment, tempera-
own
of his age.
of people portraits
are
and
themselves
.his
flamboyant attitudes, horses
composition.
painted by the
by
swirl in the wind, and
curtains
His
in monochrome.
the tendencies
by
strike
men
STUDENTS.
is dominated
man
also
ART
own
national
same
revealed, cold, indifferent
and
of
spirit. He
command
a
full
is
equally this
show
drawings of Rubens
The
passive.
of the
one
of
measure
few
very
ance exubercould
who
action; his
vitalityand
amplitude of gesture well as of form. as (figs.54 55.) His study of Michael Angelo shows in his work though mingled with his own
figuresmove
with
temperament
; in
he
substituted
painted with a
strict
In other
He
of
dark
masses
round
of
his
But
went
with
words
for lights,
drew
he
both
refused and
the
to
drew
his
far
beyond
drawing a
of
mere
a
trait por-
of his pleasant disposition the smile
with
rather
the minimum
than
the
of
light
dirty his drawing with the
he
as
exercised
He
In
gained his end to him
violence
he
his material.
over means.
achieved
shade.
latter's elemental
the
(fig.53) he
head
features, and
the
mastery
a
an
jovialturbulence.
he is concerned
sitter.
and
place of
economy
woman's ;
a
freedom, with
rather
by working
the
lightswere
mere
essence
of
form. In
Holland,
Rembrandt
among
the
Italianizing
Fig.
59.
"
A
drawing
in
pencilby Lord Leighton.
189
Fi(.. 60.
"
A
drawing by
Lord
chalk
Lcighton,made on
brown
with
black
and
white
paper.
190 I
t
THE
Dutchmen
DRAWINGS
stood
OF
alone.
he
and
types below
sat
at
191
again like
for his
Durer
etchings is
his window
of the
costumes
MASTERS.
Here
Holbein, his subject matter Bible, though
THE
Jewish
and
folk
and
from
the
accepted who
the
swarmed
they do to this day. He like Durer was always of his so-called accumulating material, though many drawings are compositions set down hastilyas they came into his head^ and often with splendid emphasis on the is the very artist. significantlines. He type of an in his sombre some ones Every event, and there were as
call forth from
him
speech or letter, but drawings, in which he sought new of expressing ways outlook. When his wife lay dying, he himself, a new made in a slightpen-drawing of her, pinched and wan After her death he wandered lets bed. by creeks and hamoutside Amsterdam drawing with simple pen strokes career,
what
seems
he
which
saw,
to
roads,
the
latter cannot
Holland
all is
now
of Marken,
be
trees
found
clean who
into their ancient
and
hasten
and
not
tumble-down
there
any
more;
houses, for
tidy,especiallythe themselves
and
in
wives fish-
their children
they see an excursion full of tourists,approaching. These drawings steamer, of compressed expression,for while models brandt Remare for his loss, he thus tryingto solace himself was of was subconsciouslyworking out like Durer a method puttingthings down in their simplestterms. Many paintershave left but few drawings, a prominent instance that he
attacked
preliminarywork stripsof canvas
dress when
being Velasquez. It has been thought the canvas without his composition on for there are picturesby him where been have added, t)ecause,as he pro-
DRAWING
192
FOR
But
of the
should
clearly defined
the
nor
his brushwork
he showed
He
far
goes
draws
beyond
bringing of
two
With
contour.
light haloes that
they
the
he
which
other
no
the brush
of and
in
a
a
or
from
quite for he
real sense,
earlier
the
forms
Velasquez
welded
round
But became
centre
Some
of
master
one
;
passage
where his
he
the
paint is
edges together
placed
in
accents
degrees of intensityto suggest nearness by blurring edges he quietened the forms
the
brandt, Rem-
means
different eye,
the
not
of
was
technique of painting, the surfaces of paint sharply together in a is held to the some paintersif the canvas
appear
non-existent. so
with
had
why
edge of Holbein, but in
knowledge
a
suggesting atmosphere, reaches.
He
feeling for humanity
the
Rubens,
more
drawings is no reason neglectVelasquez for
greatest of draughtsmen.
of
swagger
subject demanded
of
absence
of form
the student one
the
STUDENTS.
of the
ceeded, the development space.
ART
to
the
farthest
of interest.
of the dwarf
jesterportraitspainted with less of the decorum and stiffness of the court portraits, if he did them to pleasehimself, show the height of his as a as draughtsman. powers In France during the Renaissance, the artists looked it largely to Italy for inspirationand guidance. But was
Jean Clouet
school with
who
founded
portraitdrawing. He settled descendants painted a vast series
For first made
Clouets
Flanders
of
his
medium
from
and
these,
as
did
Holbein
drawings in black being already much and
their followers
and
made
in
some
red
in
a
Paris
of small
years
great and traits. por-
later,he
chalk, the latter
use
numbers
in
Italy. of these
The por-
THE
trait
DRAWINGS
OF
drawings, justlyfamed
Later
Watteau
the method
with
and
has
the
193
delicacy and
by
method
other
cision. pre-
period used position figurecom-
artists of his
vigour applying
more
revived
MASTERS.
for their
other
generally. W. Strang, followed
Mr.
THE
it to
modern
men, draughts-
for his series
of
portrait
heads. Claude
is
noteworthy
as
of the
one
But these study or sketch outdoors. mostly with the brush, are rather studies
first
paintersto drawings made of composition "
of trees and tree trunks, lightfalls on groups and divides the composition into masses of shade, though of he certainly drew twining ivy and slender branches foliageagainst the sky. but vainly for some One; wishes drawings of still how
life
the
by Chardin,
to
his fat bottles, and
Watteau red
and
Here
how
he
indicated
their effect
against
note
left numberless
black
chalk
handed
artist who
the volume his
of
grounds. quiet back-
drawings mostly
with
down
Clouets.
from
the
the
valued
drawing for what it was worth He wanted above to him. everything movement the surface but suggesting easy and langorous perhaps on fire,vivacityand alertness, a hidden (fig.24). The of lady seated on the ground with her hand on the arm The the gallant is about to rise. ment impression of movethe of the rising is conveyed, while contrast in the voluminous with the scrumpled legs hidden torse was
an
skirt is stated rather
than
with
conviction.
the brush
in
making
Watteau
used
the chalk
his studies, because
he
FOR
DRAWING
194
hard
the
that
knew
trenchantly with
ART
point
STUDENTS.
enabled and
structure
medium
has of
its
line
and
structure
work.?
Drawing him
helped on
him
the material The
of
any
essential
it,with the result that
with
charcoal
arrive
to
which
the
on
the
at
he proposes is
era
draughtsman
to
so
that
posing im-
specialto
those
Jean Dominique most
recent.
or
point would
the
banner
perhaps the
early
of the
use.
reached.
now
use
facts of
mind
essentials, without
of the academic
had
movement
with
or
clashing with
conventions
modern
there
against the
skilful His are
pencil
cleverness
those
who
place his drawings before the student is to disaster, luring him to attempt by trickerywhat no court ever, howbut Ingres could one accomplish. His methods are plain in his drawings, reproductions of which edition (now out of print). He be seen in Newne's may surveyed the pose, sketched in the leading lines,studied the structure beneath the clothes with lightstrokes before he concentrated details. He made on portrait many for a few francs apiece, and as drawings while in Rome time
was
of the The
that
little that is of direct
required for the carrying out
approaches legerdemain, declare
to
impressed
not
Ingres,the upholder romantic
convention,
study contains
still has
worse
have
own
his studies
only to find that this gard demanding the disre-
water-colour
say
for
drawing
make
student
more
It is preeminently
rather
or
the
does
everything not
the water-colour and
often
deal
to
movement.
painter's drawing painting. How for a picture,in
him
to
short, gave
most
of it to the head, the remainder
drawing being left with
finish he gaye
to
the
the surface
first strokes forms
showing.
of the face is of
THE
DRAWINGS
MASTERS.
THE
OF
195
possible only to himself, though well worth the keenest attention,for it could have been compassed only
course
by
a
close
study
Francois
Jean Barbizon
(fig.57.)
of the structure,
Millet for his
groups
is
be
to
drawings.
noted He
was
painted in series. A picture was earlier one, and suggested by an to which corollary,and as it were completed it. He
artist who
whole
depictthe
life of the French
the
among
peasants
a
type
of
influenced it formed wished
a
to
of his time,
privations and how these varied during the year. His mode of study required first and always the close observation rather than actual painting from which model and he despised as tending to scenery,
their labours
and
numberless of notes triviality.Consequently he made in rural figures engaged occupations, mainly from His drawings show without finickydetail the memory. character of his subject; even the and bodily structure its appropriate weight and coarseto have ness drapery seems of texture, while the action leisurely and untKeatrical is expressed with a sombre strength, (fig.58). Puvis of
de
in
art
Chavannes
mural
great
after the
had
established
themselves
and
therefore
Paris
methods,
their
worked
commonly
decorations used
for
excellent, so
are
made
with
drawing solid
the
charcoal from
and
the
great schools and
studies the
life.
feet
Of
the
only the
drawings studies
of
His
ballet
ings draw-
weighty are his figures, ground and the structure
of the great French the
for his
implement
firmlyplanted on the C. H. Shannon for throughout. Mr. cared squared off for transferringto the canvas.
the
settled
dancers
has
master are
one
Degas,
familiar
to
FOR
DRAWING
196
and
Engli"h students, and
Degas,
only observed
is
of what
one
of
on
seek
and
after careful
for.
account
diagrams
or
subjects
his
His
scrutiny. This is not
home,
drawings
of his power
been
out,
pointed
angled lens, not from
His
width
would
one
of space
have
taken
might expect Degas his
and
accents,
The
Sickert, and In made
which
were
closest
the etc.
black
They
careful
very
the
also
with
so
form
his
Adolf
drawings
attention
in the
And
as
one
placing of
into
merged
the
on
the
by Mr.
master
Menzel
than
to
highly
are
reproduced
depicted
non-accented
during other
any
ground. back-
for
is
use
and
details
in
charcoal.
in Newne's
of costume,
realistic and A
of
a
a
made
his
head.
long
there
life are
pictures,
and
needing architecture, mostly with
characteristic
series, but
Walter
painter. They
mainly historical in character
chalk
scene
take
the
over
has wide
a or
he
to
reproduced three views
painter's studies, that
all
the head
turn
as
one
Burlington Magazine recently published
Germany more
with
were
by the drawing.
illuminating articles
some
is
to
equally
where
those
passages,
lie
may
those
sittingamong
up was
it
as
to
always
surveying a stage
were
if
as
drew
did
opposite
figures are
in this respect
he
if he
as
distance, but
a
that
so
that
tery mas-
easy
the
are
so
feeling
depicted in relationshipwith their surroundings and of the secrets
His
though Degas
at
of form.
maps
an
throne, and
a
that the artistic
call "at homeness"
may
always
analyse
stuck
naturallydo they move
quietlyand
not
like models
look
never
reproductions.
prolonged study, achieved intimacy in his drawings.
of
extraordinarydegree people
mostly from
these
without
not
STUDENTS.
ART
are
selection very
few
Fic.
6
1
"
A
drawing
in
red
197
chalk
b)- Alfred
Stevens.
Fig. should
62
"
be
A
drawing
avoided
by
in
red
students. from
chnlk
Alfred
by The
the
198
colour form.
Ste\'cns. distracts
Red their
challc
attention
THE
originalsto
DRAWINGS
be
though
with
attained
an
methods.
recliningfemale The
etc.,
been
made
must
have
fingerthe
There
is
figuresfrom at top speed
used show
his
insistence
chalk
a
the
drawing of the
Parthenon
pen
Menzel's the use
of
schools.
similar
a
drawn
on
two
must
yet
method,
for several
of his
with
of the features
accents
stump
for
some
omitted.
methods
continent
and
which
the silveryshading done
having been
reason
on
In
everythingis there. indicated and their ample forms figureswere gested sugof the drapery by smudges of chalk, the accents bein being set down firmly on this preparation. Hol-
portraitheads or
Britain.
199
of Durer, one tenacityhe reminds almost photographic vision, a result not by stippling, but by direct and
however
summary
have
in
seen
MASTERS.
in his
and
structure
THE
OF
which
charcoal,
have
must
perhaps a
aroused
much for the
account
favourite
interest
medium
sive exclu-
of his, in the
spared no pains to get on intimate with his subject material, the current terms militaryand life of Germany, the most court exacting in details of His importance as his^ equipment and social custom. torian was acknowledged, and on several occasions suspended their business, while important conferences art
Menzel
took
Menzel
out
his
grouping. In England, of the painters,Gainsborough is costumes
perhaps
book
sketch
and
made
notes
of
or
because
he
had
brilliant most more
famous time.
group
of
for his He
portrait drawings,
obtained
a
rather silvery quality but the portraitsare quick sketches for composition than studies of form, and
beautiful
the
same
may
be
said of his
landscapes.
FOR
DRAWING
3O0
STUDENTS.
ART
illustrators of the sixties the
The
period
should
be
magazines treasured by every
and
bought
figure composition, Millais, Charles others, by Walker, Sandys, and many British
though engraver. over
crinolines,and
and
trousers
nothing, the the
beyond century,
to
The
removed
be
of the
they liked, but
print and
astonishing who
never
debt
nation
work
pointed
his
is
been
the
for
of
all his or
teaching.
out, in his
output
the
need
late
somewhat
copying
of
what
size of
added
mensely im-
he
sidered con-
influenced
close
study
bits of
perhaps Turner of
Durer and
even
himself
not
a
few
understood as
he
But
etc.
of
in this
teaching
art
an
ignored partlybecause
exercises
drawings
what He
for
his
sketches,
of
considered.
Of
structure.
has
his
to
the actual
thousands
when
number
acknowledged to
draw
to
sometimes
which
had
draughtsmen
the wood
on
emphasized
and
reasons
look
must
period is not the eighteenth
of
present-day men
in reverse,
finished
advocated
that these
drew
left the
direction
are
their difl"culties.
Turner
growth
The
is the dress
remembered
the freedom
Ruskin
the student
the other. as
.however
romantic.
seem
to
gave
absorb
trations the illus-
pronounces
fashions
everything,and
to
one
It must
the
is
art
yet far enough
scale
their enthusiasm
the
perhaps
old-fashioned.
not
Fred
brightestin the history of The illustrations art. are really drawings of the second-hand at through the medium The ing ignorant and youthful student on turnof these magazines glances at the the pages
that decade
pegtop
student
Keane,
of
made
of which
Ruskin
he
have their has
landscape displayed ex-
Fig.
63
A
"
drawing A
Grunewald. back
as
in
women
worl"
on
dark
of great
shows
paper
ot
an
and vitality
old woman's
head
force. The
skull
through the head clearly
by
Matthias
high at the coveringwhich, though
have been quite familiar with, he draws with draughtsman mast it for the firsttime if he had seen the rightattitude as inquisitivcness of Museum. drawing. for a student [British
the
"
^''Af
* :'
.s e O
3
iH
3
fe
13
Fig.
65
The
dominant
"
A
drawingin
red chalk
line of the pose
by Giorgioneof
starts
a
nude
with the head and
in stnjng action. then travels down
the spinal column the legs. The to head, hands .along feet shew and limbs. the lessobservation than the torse espechally
the neck
203
and
Fig.
66
brush. is lull ot
"
compositionby Frngonard. An example of drawing with the The drawing .ibruptsquare rh)thm of stroke is very evident. secured by givingthe "directions" their full degree ot movement, A
The
obliquity.
Museum. [British
THE
DRAWINGS
lie of the
ground,
the
hills he
made
the
and
movements
of
invisible
curves,
into the
the
drawings by well and of
drawings
desired
modern
forms
of
position. com-
masses
to
large
leading the
point. those
in
by
line
Lord
production, frequent re-
of art/
in schools were
in
forms
his
of their
reason
of
tion percep-
conform
masters
by
exhibition
points of of the art of
some
known
plant
keen
a
;
home
at
of cloud
had
city wall
or
master
was
picture to
are
salient
trees,
and
He
form
folds
profound understanding
a
made
mountain,
Leighton
equally
was
of water.
whether
Of
cleavage of rocks, the
clear, and
rhythm and He
"ye
the
205
of natural
perspectiveand arrangement
showing the
MASTERS.
of the structure
traordinaryknowledge the
THE
OF
His
early
Ruskin's
with
teaching. Delicacy and precisionare of
range
and
curve
leaves.
The
sufficient
to
is
movement
emphasis though detach
the forms.
of the flower
stalks should
of the flower
heads
level and
shown
has been
the spaces
in
given
observed. are
The No
and
understand
white
chalk
the forms
on
brown
under
paper.
the
and is
upon
lines
arrangement two
are
on
a
unequal.
Leighton's drapery studies (fig.60) show which has been widely adopted. They were black
full
a
the stalks
to
subtly varying
be noted.
between
59, yet
insisted
not
The
fig.
He
a
technique made
took
drapery,sometimes
with
pains to ing mak-
The preliminary drawing from the nude. study be looked in must as a working drawing,to be used upon therefore giving the fullest possible cona painting,and tent a
of forms, which
accounts
for its over
accentuation.
Alfred
be
6i, 62, should and
be noted
It should
the
how the
model, dominates
by the figure. The the
the
were
Figs.
to.
61
fig.
ment move-
pre-occupationof the master. form curved grasped by the line of
and
shoulders
the
across
reverse
The
well marked.
jointsare
in
repeated
curve
a
pose,
is continued
arms
In
carefully.
studied
structure
referred
already been
has
Stevens
STUDENTS.
ART
FOR
DRAWING
2o6
back.
and to place the right arm repeated attempts of the model that the involuntary movements show
hand
The
seized was
give increased
to
on
of the few
one
the
planes, and
body, which drawing.
A
amplitude
the
drawing
and
portraitsgave studied
used
are
much of
to
suggest
solidityof in any
as
for his
and him
cannot
structure
him
method
should to
be
the
"cubist"
"shading"
academic
In
is reverted
the to.
noted.
have
practised in the
as
He the
linear
by Cuneo
is said
utmost.
the
of the forms
drypoints drawings prove
numerous
ment move-
rendering of the left shoulder.
The
of
as
instance
repeated below,
study
lines
upon
curious
arm
Whistler
give all the
give the weight and
to
is insisted
in the
occurs
shade
the
62
FIG.
who
draughtsmen
Stevens
pose.
figureexhibits.
the human In
vitalityto the
were
art
deprecated schools
the
yet his
are tially essenlithographs which to have exploited drawing to be called a skilled draughtsman,
and
details
of the
great trouble, yet he
bands
will
in his
always
be
delicate
and perception of the sinuous flexible in line,of the gradation of tone and the value of the right place of accent. he According to Mempes once
described
went
on
his
all fours
method
with
that
of
drawing
of other
which
masters.
however He
first
Fig.
67
"
subordinated
A
sketch to
the
in pen action
and and
ink
and
rhythm
of dark.
wash
by
of line and
Guercino. the
Everything
phicingof the
accents
[BritishMuseum. 207
is
head The Loggan. dra\Aing b)-David in the oval. low might be able to D}namic too Symmetry seems with do because this is so the features that show not happen to coincide the Museum. of the ellipse.[British rectangle enclosing important divisions Fig.
68
"
A
wonderfully
detailed
"
"
zo8
THE
focus
his
placed
where
bridge,
he
ease'
chose
the
went
While
studied
living
masters
the
taken
But in
that
of
form
as
will
will
book
only
the
practice with.
and
mind
his
part
elsewhere
he the
to
necessarily, of line
master
should
work
take
and
of
closely
be
those of
The
there
are
aspect
of
movement,
for
terrors
results;
long
but
which line
of
must
masters
not
be
form and
structure
If
the
student
will
nor
been
has
theories
new
it is evident have
he
with
lines, the him,
haps per-
draughtsmen
concerned
light. such
some
whom
troversies con-
negligible.
are
been
on
those
great
no
the and
omission
has
by
in
admire
of
pages
methods' the
work
the
to
of form,
study
interest
certainly
movements
new
no
their
keen
with.
that
reference
any in the
a
will
and
revealed
have
without
upon
grounded
by
dealt
the
three-fold
well
that
movements
new
sympathy
implying
appearance
been
to
all in these
its
lines
threw
omitted
be
His
close
himself
living, or
he
whatever
is made
Vierge
will
to-day
in
as
detail
in
must
darks.
student
found most
this
or
memory.
mention
or
of
feels
figure, tower
a
composition,
express
masters
chapter
though
From
Reference
of
be
209
all illustrators.
by
This
to
many
placing
the
it. of his
his
barely
may
one
wanted
at.
so
MASTERS.
THE
interest, it might
on
trained
he
OF
masses
work
to
way
of he
establishing at
DRAWINGS
he
be
that
in
sanctioned
could
have
founded con-
this
by been
INDEX.
"
heavy
in
figures
The
N.B.
Illustrations
which
Anatomy,
98
94,
118,
Animals, Artists
123
120,
127,
:
4
Correggio,
Frontispiece
Crawhall,
Watteau,
82,
Whistler,
206
Degas,
3,
196
Durer,
4,
171,
167,
175
from,
Drawing
Vase,
168,
175
60
Backgrounds,
176
Vision,
of
Bias
204
Birds,
Gainsborough,
7
121
120,
199
Botticelli,
203
Giorgione,
4
182 201
Griinewald,
Guercino,
90,
4,
207
172,
152,
182
173,
185,
194
189,
190,
Leonardo
da
4,
Drawings,
Chinese
Leighton,
Clouds,
Vinci,
182
174,
208
Lorenzo
de
Maclise,
38
Costume
Menzel,
196
Crawhall,
Michael
Angelo,
Millet,
186,
33
"
160
151
"
Frontispiece
Correggio,
177
139
30
Convention, 202
48,
no
5,
Construction,
Loggan,
Credi,
47, 116
27
Composition,
205
92,
70,
69,
63,
54,
42,
41,
Studies,
Charcoal
150,
171
100,
99,
Drawings,
Chalk
91,
5,
Holbein,
Ingres,
193
115
109,
Giotto,
on
Bas-Relief,
Athenian
Fragonard,
pages
occur.
Assyrian
Botticelli,
142
Study, 109,
115
Forms,
Cylindrical
23,
24,
25
for,
154,
195
178
Raphael, Rembrandt,
5,
4,
Degas,
188
184,
Rubens,
5,
Ruskin,
27,
Stevens,
179,
183,
139
Durer,
187
4,
171,
176
132
153,
Velasquez,
180,
196
3,
Design,
89
Reynolds,
Vierge,
those
indicate
type
197,
198,
206
Edge
Study,
Etching,
igi
155
209
211
Pencil
85 Studies
INDEX.
212
Face,
Oil
22
19, 20, Studies, Figure 84, 53, 54, 55, 59,
70, Form,
103
Form,
Search
64,
63,
73
79
"
106
"
61-72
Pencil
Plant
203
44,
142
156
14
Form,
133
124,
139,
"
137,
189
"
7 21
182
Giotto,
Griinewald,
201
Guercino,
Quadrupeds,
29
207
91,
5,
178
Raphael, Head,
43,
Post-Impressionists, Proportion, 3, 13
199
tion Prepara-
a
148, 141,
22
138,
Giorgione,
as "
Drawings,
Planes,
204
Gaiasborough,
144
Drawing
Painting,
Perspective,
for, 39,
Fragonard,
141,
for, 140
Sketching,
Time
Figure,
32,
Painting,
"
119
116,
92,
49
22
Recumbent
Holbein,
150,
go,
4,
172,
152,
182
173,
Forms,
Related
Rembrandt,
for,
Drawing
161
82
188
89
Re5molds, Illustration,
84, 81,
"
184,
5,
4,
28
20, 80
Figures,
Rubens.
5,
Ruskin,
27,
180,
179,
183,
187
"
132
165
Ingres,
185,
4,
194
of, 3 198,
Sincerity, Quality Stevens,
Drawings,
Japanese
113,
no,
114
Still
Life,
Style,
197,
153,
4
Sub-consciousness, 128
Landscape, "
Lay
"
in
Leighton,
189,
Leonardo
da
Light
and
Study,
190,
208
Lorenzo
de
182
46,
"
Memory
38 Drawing,
Menzel,
196
Michael
Millet,
41
T5rpe Forms,
Movement,
Velasquez, Vierge, 209
107
177
195 51,
52,
"
on,
10
1
22
29
"
202
"
117,
53
191
Bias
of,
7
"
12
119
Water
Angelo, 186,
34
102
Vision, Maclise,
46 drawing
Study, Paper,
Toned
174, 34
Credi,
Tone
141
205
Vinci,
Shade,
Loggan,
11
132
"
Oil
of
206
42
Colour
Watteau,
82,
Whistler,
206
Wrist,
26
Drawing, 193
142,
149