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- Herausgeber: eKitap Projesi
- Sprache: Englisch
- Veröffentlichungsjahr: 2015
In writing upon any matter of experience, such as art, the possibilities of misunderstanding are enormous, and one shudders to think of the things that may be put down to one's credit, owing to such misunderstandings. It is like writing about the taste of sugar, you are only likely to be understood by those who have already experienced the flavour; by those who have not, the wildest interpretation will be put upon your words.
The written word is necessarily confined to the things of the understanding because only the understanding has written language; whereas art deals with ideas of a different mental texture, which words can only vaguely suggest. However, there are a large number of people who, although they cannot viibe said to have experienced in a full sense any works of art, have undoubtedly the impelling desire which a little direction may lead on to a fuller appreciation. And it is to such that books on art are useful. So that although this book is primarily addressed to working students, it is hoped that it may be of interest to that increasing number of people who, tired with the rush and struggle of modern existence, seek refreshment in artistic things. To many such in this country modern art is still a closed book; its point of view is so different from that of the art they have been brought up with, that they refuse to have anything to do with it.
Whereas, if they only took the trouble to find out something of the point of view of the modern artist, they would discover new beauties they little suspected.
If anybody looks at a picture by Claude Monet from the point of view of a Raphael, he will see nothing but a meaningless jargon of wild paint-strokes. And if anybody looks at a Raphael from the point of view of a Claude Monet, he will, no doubt, only see hard, tinny figures in a setting devoid of any of the lovely atmosphere that always envelops form seen in nature. So wide apart are some of the points of view in painting. In the treatment of form these differences in point of view make for enormous variety in the work.
Works showing much ingenuity and ability, but no artistic brains; pictures that are little more than school studies, exercises in the representation of carefully or carelessly arranged objects, but cold to any artistic intention.
At this time particularly some principles, and a clear intellectual understanding of what it is you are trying to do, are needed. We have no set traditions to guide us. The times when the student accepted the style and traditions of his master and blindly followed them until he found himself, are gone. Such conditions belonged to an age when intercommunication was difficult, and when the artistic horizon was restricted to a single town or province. Science has altered all that, and we may regret the loss of local colour and singleness of aim this growth of art in separate compartments produced; but it is unlikely that such conditions will occur again. Quick means of transit and cheap methods of reproduction have brought the art of the whole world to our doors.
Where formerly the artistic food at the disposal of the student was restricted to the few pictures in his vicinity and some prints of others, now there is scarcely a picture of note in the world that is not known to the average student, either from personal inspection at our museums and loan exhibitions, or from excellent photographic reproductions. Not only European art, but the art of the East, China and Japan, is part of the formative influence by which he is surrounded; not to mention the modern science of light and colour that has had such an influence on technique. It is no wonder that a period of artistic indigestion is upon us. Hence the student has need ixof sound principles and a clear understanding of the science of his art, if he would select from this mass of material those things which answer to his own inner need for artistic expression.
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The Practice & Science of Drawing
'With 93 Illustrations & Diagrams'
By
HaroldSpeed
Illustrated & Edited
by
ILLUSTRATED &
PUBLISHED BY
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Copyright, 2014 by e-Kitap Projesi
Istanbul
ISBN: 978-615-5565-083
THE PRACTICE & SCIENCE OF DRAWING
BY
HAROLD SPEED
Associé de la Société Nationale des Beaux-Arts, Paris;
Member of the Royal Society of Portrait Painters, &c.
With 93 Illustrations & Diagrams
LONDON, SEELEY, SERVICE & CO. LIMITED38 GREAT RUSSELL STREET1913
Table of Contents
The Practice & Science of Drawing
Table of Contents
Preface
I Introduction
II Drawing
III Vision
IV Line Drawing
V Mass Drawing
VI The Academic and Conventional
VII The Study of Drawing
VIII Line Drawing: Practical
X Rhythm
XI Rhythm: Variety of Line
XII Rhythm: Unity of Line
XIII Variety of Mass
XIV Unity of Mass
XV Balance
XVI Rhythm: Proportion
XVII Portrait Drawing
XVIII The Visual Memory
XIX Procedure
XX Materials
XXI Conclusion
Appendix
LIST OF PLATES
I. SET OF FOUR PHOTOGRAPHS OF THE SAME STUDY FROM THE LIFE IN DIFFERENT STAGESII. DRAWING BY LEONARDO DA VINCIIII. STUDY FOR "APRIL"IV. STUDY FOR THE FIGURE OF "BOREAS"V. FROM A STUDY BY BOTTICELLIVI. STUDY BY ALFRED STEPHENSVII. STUDY FOR THE FIGURE OF APOLLOVIII. STUDY FOR A PICTUREIX. STUDY BY WATTEAUX. EXAMPLE OF XVTH CENTURY CHINESE WORKXI. LOS MENENAS. BY VELAZQUEZXII. STUDY ATTRIBUTED TO MICHAEL ANGELOXIII. STUDY BY DEGASXIV. DRAWING BY ERNEST COLEXV. FROM A PENCIL DRAWING BY INGRESXVI. STUDY BY RUBENSXVII. A DEMONSTRATION DRAWING AT THE GOLDSMITHS' COLLEGEXVIII. STUDY ILLUSTRATING METHOD OF DRAWINGXIX. xiiiILLUSTRATING CURVED LINESXX. STUDY FOR THE FIGURE OF "LOVE"XXI. STUDY ILLUSTRATING TREATMENT OF HAIRXXII. STUDY FOR DECORATION AT AMIENSXXIII. DIFFERENT STAGES OF THE PAINTING FROM A CAST (1)XXIII. DIFFERENT STAGES OF THE PAINTING FROM A CAST (2)XXIV. DIFFERENT STAGES OF THE PAINTING FROM A CAST (3)XXIV. DIFFERENT STAGES OF THE PAINTING FROM A CAST (4)XXV. ILLUSTRATING SOME TYPICAL BRUSH STROKESXXVI. DIFFERENT STAGES OF THE SAME STUDY (1)XXVII. DIFFERENT STAGES OF THE SAME STUDY (2)XXVIII. DIFFERENT STAGES OF THE SAME STUDY (3)XXIX. DIFFERENT STAGES OF THE SAME STUDY (4)XXX. A STUDY FOR A PICTURE OF "ROSALIND AND ORLANDO"XXXI. ILLUSTRATIONS FROM BLAKE'S "JOB" (PLATES I., V., X., XXI.)XXXII. ILLUSTRATIONS FROM BLAKE'S "JOB" (PLATES II., XI., XVIII., XIV.)XXXIII. FÊTE CHAMPÊTREXXXIV. BACCHUS AND ARIADNEXXXV. LOVE AND DEATHXXXVI. SURRENDER OF BREDAXXXVII. THE BIRTH OF VENUSXXXVIII. THE RAPE OF EUROPAXXXIX. BATTLE OF S. EGIDIOXL. THE ASCENSION OF CHRISTXLI. THE BAPTISM OF CHRISTXLII. PORTRAIT OF THE ARTIST'S DAUGHTERXLIII. MONTE SOLARO, CAPRIXLIV. PART OF THE "SURRENDER OF BREDA"XLV. VENUS, MERCURY, AND CUPIDXLVI. OLYMPIAXLVII. L'EMBARQUEMENT POUR CYTHÈREXLVIII. THE ANSIDEI MADONNAXLIX. FINDING OF THE BODY OF ST. MARKL. FROM A DRAWING BY HOLBEINLI. SIR CHARLES DILKELII. JOHN REDMOND, M.P.LIII. THE LADY AUDLEYLIV. STUDY ON BROWN PAPERLV. FROM A SILVER POINT DRAWINGLVI. STUDY FOR TREE IN "THE BOAR HUNT"________________________________________
LIST OF DIAGRAMS
I.TYPES OF FIRST DRAWINGS BY CHILDRENII.SHOWING WHERE SQUARENESSES MAY BE LOOKED FORIII.A DEVICE FOR ENABLING STUDENTS TO OBSERVE APPEARANCES AS A FLAT SUBJECTIV.SHOWING THREE PRINCIPLES OF CONSTRUCTION USED IN OBSERVING MASSES, CURVES, AND POSITION OF POINTSV.PLAN OF CONE ILLUSTRATING PRINCIPLES OF LIGHT AND SHADEVI.ILLUSTRATING SOME POINTS CONNECTED WITH THE EYESVII.EGG AND DART MOULDINGVIII.ILLUSTRATING VARIETY IN SYMMETRYIX.ILLUSTRATING VARIETY IN SYMMETRYX.ILLUSTRATING INFLUENCE OF HORIZONTAL LINESXI.ILLUSTRATING INFLUENCE OF VERTICAL LINESXII.ILLUSTRATING INFLUENCE OF THE RIGHT ANGLEXIII.LOVE AND DEATHXIV.ILLUSTRATING POWER OF CURVED LINESXV.THE BIRTH OF VENUSXVI.THE RAPE OF EUROPAXVII.xviBATTLE OF S. EGIDIOXVIII.SHOWING HOW LINES UNRELATED CAN BE BROUGHT INTO HARMONYXIX.SHOWING HOW LINES UNRELATED CAN BE BROUGHT INTO HARMONYXX.THE ARTIST'S DAUGHTERXXI.THE INFLUENCE ON THE FACE OF DIFFERENT WAYS OF DOING THE HAIRXXII.THE INFLUENCE ON THE FACE OF DIFFERENT WAYS OF DOING THE HAIRXXIII.EXAMPLES OF EARLY ITALIAN TREATMENT OF TREESXXIV.THE PRINCIPLE OF MASS OR TONE RHYTHMXXV.MASS OR TONE RHYTHM IN "ULYSSES DERIDING POLYPHEMUS"XXVI.EXAMPLE OF COROT'S SYSTEM OF MASS RHYTHMXXVII.
Preface
Permit me in the first place to anticipate the disappointment of any student who opens this book with the idea of finding "wrinkles" on how to draw faces, trees, clouds, or what not, short cuts to excellence in drawing, or any of the tricks so popular with the drawing masters of our grandmothers and still dearly loved by a large number of people. No good can come of such methods, for there are no short cuts to excellence. But help of a very practical kind it is the aim of the following pages to give; although it may be necessary to make a greater call upon the intelligence of the student than these Victorian methods attempted.
It was not until some time after having passed through the course of training in two of our chief schools of art that the author got any idea of what drawing really meant. What was taught was the faithful copying of a series of objects, beginning with the simplest forms, such as cubes, cones, cylinders, &c. (an excellent system to begin with at present in danger of some neglect), after which more complicated objects in plaster of Paris were attempted, and finally copies of the human head and figure posed in suspended animation and supported by blocks, &c. In so far as this was accurately done, all this mechanical training of eye and hand was excellent; but it was not enough. And when with an eye trained to the closest mechanicalviaccuracy the author visited the galleries of the Continent and studied the drawings of the old masters, it soon became apparent that either his or their ideas of drawing were all wrong. Very few drawings could be found sufficiently "like the model" to obtain the prize at either of the great schools he had attended. Luckily there was just enough modesty left for him to realise that possibly they were in some mysterious way right and his own training in some way lacking. And so he set to work to try and climb the long uphill road that separates mechanically accurate drawing from artistically accurate drawing.
Now this journey should have been commenced much earlier, and perhaps it was due to his own stupidity that it was not; but it was with a vague idea of saving some students from such wrong-headedness, and possibly straightening out some of the path, that he accepted the invitation to write this book.
In writing upon any matter of experience, such as art, the possibilities of misunderstanding are enormous, and one shudders to think of the things that may be put down to one's credit, owing to such misunderstandings. It is like writing about the taste of sugar, you are only likely to be understood by those who have already experienced the flavour; by those who have not, the wildest interpretation will be put upon your words. The written word is necessarily confined to the things of the understanding because only the understanding has written language; whereas art deals with ideas of a different mental texture, which words can only vaguely suggest. However, there are a large number of people who, although they cannotviibe said to have experienced in a full sense any works of art, have undoubtedly the impelling desire which a little direction may lead on to a fuller appreciation. And it is to such that books on art are useful. So that although this book is primarily addressed to working students, it is hoped that it may be of interest to that increasing number of people who, tired with the rush and struggle of modern existence, seek refreshment in artistic things. To many such in this country modern art is still a closed book; its point of view is so different from that of the art they have been brought up with, that they refuse to have anything to do with it. Whereas, if they only took the trouble to find out something of the point of view of the modern artist, they would discover new beauties they little suspected.
If anybody looks at a picture by Claude Monet from the point of view of a Raphael, he will see nothing but a meaningless jargon of wild paint-strokes. And if anybody looks at a Raphael from the point of view of a Claude Monet, he will, no doubt, only see hard, tinny figures in a setting devoid of any of the lovely atmosphere that always envelops form seen in nature. So wide apart are some of the points of view in painting. In the treatment of form these differences in point of view make for enormous variety in the work. So that no apology need be made for the large amount of space occupied in the following pages by what is usually dismissed as mere theory; but what is in reality the first essential of any good practice in drawing. To have a clear idea of what it is you wish to do, is the first necessity of any successful performance. But our exhibitions areviiifull of works that show how seldom this is the case in art. Works showing much ingenuity and ability, but no artistic brains; pictures that are little more than school studies, exercises in the representation of carefully or carelessly arranged objects, but cold to any artistic intention.
