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Practice And Science Of Drawing

Contents

• 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
  
• Ix. Mass drawing: practical
  
• X. Rhythm
  
• Xi. Rhythm: variety of line
  
• Xii.Rhythm: unity of line
  
• Xiii.Rhythm: variety of mass
  
• Xiv.Rhythm: unity of mass
  
• Xv. Rhythm: balance
  
• Xvi.Rhythm: proportion
  
• Xvii.Portrait drawing
  
• Xviii.The visual memory
  
• Xix.Procedure
  
• Xx. Materials
  
• Xxi.Conclusion
  
• Appendix
  
• Index
  

The best things in an artist's work are so much a matter of intuition, that there is much to be said for the point of view that would altogether discourage intellectual inquiry into artistic phenomena on the part of the artist. Intuitions are shy things and apt to disappear if looked into too closely. And there is undoubtedly a danger that too much knowledge and training may supplant the natural intuitive feeling of a student, leaving only a cold knowledge of the means of expression in its place.

For the artist, if he has the right stuff in him, has a consciousness, in doing his best work, of something, as Ruskin has said, "not in him but through him." He has been, as it were, but the agent through which it has found expression.

Talent can be described as "that which we have," and Genius as "that which has us." Now, although we may have little control over this power that "has us," and although it may be as well to abandon oneself unreservedly to its influence, there can be little doubt as to its being the business of the artist to see to it that his talent be so developed, that he 18may prove a fit instrument for the expression of whatever it may be given him to express; while it must be left to his individual temperament to decide how far it is advisable to pursue any intellectual analysis of the elusive things that are the true matter of art.

Provided the student realises this, and that art training can only deal with the perfecting of a means of expression and that the real matter of art lies above this and is beyond the scope of teaching, he cannot have too much of it.

For although he must ever be a child before the influence that moves him, if it is not with the knowledge of the grown man that he takes off his coat and approaches the craft of painting or drawing, he will be poorly equipped to make them a means of conveying to others in adequate form the things he may wish to express.

Great things are only done in art when the creative instinct of the artist has a well organised executive faculty at its disposal.