The Practice and Science Of Drawing

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

s to give; although it may be necessary to make a greater call upon t

ted, 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 mechanical viaccuracy 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

y that it was not; but it was with a vague idea of saving some students from such wrong-headedness,

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

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 i

im 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 excel

ther. After a time these newly-met forces will adjust themselves to the altered condition, and a larger, finer stream be the result. Something analogous to this would seem to be happening in art at the present time, when all na

me of any attempt to leave the turbulent waters, go backwards, and start again; they can only flow onwards. To speak more plainly, the complexity of modern art influences may make it necessary to call attention to the primitive principles of expression that should never be lost sight of in any work, but hardly justifies the attitude of those an

e of the question has not been neglected. And it is hoped that the logical method for the study of drawing from the two opposite points of view of line and mass here advo

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