DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.20658#0028
14
OF DRAWING.
conceived a subject, they first made a variety of sketches; then a finished outline of the whole;
after that a more correct drawing of every separate part, head, hands, feet, and pieces of drapery :
they then painted the picture ; and after all retouched it from the life. The pieces wrought in
this manner now appear like the effect of enchantment, and as if some mighty genius had struck
them off at one blow.
4 The choice of those subjects on which the artist exercises his talents in the early part of the
art, is of the first consideration. His originals should be of the most excellent kind : the profiles,
hands, feet, &c. must be the productions of the ablest masters, or correct copies therefrom. The
imitation of these will bring both his eye and hand early acquainted with the most elegant forms,
and beautiful proportions. An artist, who has thus improved his taste, will be able to give a dig-
nity and grace to the meanest figures, while the works of a Praxiteles or a Glycon would suffer
in the hands of a person whose talents are unrefined from his ignorance of the ancients.
5. A very useful, and almost essential, part of the art, is to copy some of the most popular and
approved heads from the Greek and Roman medals. These are not to be admired as containing
the most correct outline, or judicious relief; but they serve to make those faces familiar to the
student, many of whom he may (and undoubtedly will) often have occasion to introduce into his
pieces. This practice will initiate him in the art of copying from relief, give him an idea of the
rationale of light and shade, and more clearly than by any other method, teach him the nature of
that chiaroscuro, by which the forms of objects are distinguished.
Lastly, but principally, the works of the greatest masters are unceasingly to be studied : they
are to be studied wiih strict attention; and in order to do this with advantage, we have the fol-
lowing advice of an eminent English artist.
' Some, who have never raised their minds to the consideration of the real dignity of the art, and
who rate the worts of an artist in proportion as they excel, or are defective, in the mechanical
parts, look on theory as something that may enable them to talk, but not to paint better; and,
confining themselves entirely to mechanical practice, very assiduously toil in the drudgery of co-
pying, and think they make a rapid progress, while they faithfully exhibit the minutest part of a
favourite picture. This appears to me a very tedious, and, I think, very erroneous method of pro-
ceeding. Of every large composition, even of those which are most admired, a great part may be
truly said to be common-place. This, though it takes up much time in copying, conduces little to
improvement. I consider general copying as a delusive kind of industry : the student satisfies him-
self with the appearance of doing something; he falls into the dangerous habit of imitating without
selecting, and of labouring without any determinate object: as it requires no effort of the mind, he
sleeps over his work ; and those powers of invention and composition which ought particularly
-to be called out and put in action, lie torpid, and lose their energy for want of exercise.
' However, as the practice of copying is not entirely to be excluded, since the mechanical practice
of painting is learned in some measure by it, let those choice parts only be selected, which have
recommended the work to notice. If its excellence consists in its general effect, it would be proper
to make slight sketches of the machinery, and general management of the picture. Those sketches
should be kept always by you, for the regulation of your style : instead of copying the touches of
these great masters, copy only their conceptions; instead of treading in their footsteps, endeavour
only to keep the same road. Labour to invent on their general principles and way of thinking;
possess yourself with their spirit; consider with yourself how a Michael Angelo, or a Raphael,
would
OF DRAWING.
conceived a subject, they first made a variety of sketches; then a finished outline of the whole;
after that a more correct drawing of every separate part, head, hands, feet, and pieces of drapery :
they then painted the picture ; and after all retouched it from the life. The pieces wrought in
this manner now appear like the effect of enchantment, and as if some mighty genius had struck
them off at one blow.
4 The choice of those subjects on which the artist exercises his talents in the early part of the
art, is of the first consideration. His originals should be of the most excellent kind : the profiles,
hands, feet, &c. must be the productions of the ablest masters, or correct copies therefrom. The
imitation of these will bring both his eye and hand early acquainted with the most elegant forms,
and beautiful proportions. An artist, who has thus improved his taste, will be able to give a dig-
nity and grace to the meanest figures, while the works of a Praxiteles or a Glycon would suffer
in the hands of a person whose talents are unrefined from his ignorance of the ancients.
5. A very useful, and almost essential, part of the art, is to copy some of the most popular and
approved heads from the Greek and Roman medals. These are not to be admired as containing
the most correct outline, or judicious relief; but they serve to make those faces familiar to the
student, many of whom he may (and undoubtedly will) often have occasion to introduce into his
pieces. This practice will initiate him in the art of copying from relief, give him an idea of the
rationale of light and shade, and more clearly than by any other method, teach him the nature of
that chiaroscuro, by which the forms of objects are distinguished.
Lastly, but principally, the works of the greatest masters are unceasingly to be studied : they
are to be studied wiih strict attention; and in order to do this with advantage, we have the fol-
lowing advice of an eminent English artist.
' Some, who have never raised their minds to the consideration of the real dignity of the art, and
who rate the worts of an artist in proportion as they excel, or are defective, in the mechanical
parts, look on theory as something that may enable them to talk, but not to paint better; and,
confining themselves entirely to mechanical practice, very assiduously toil in the drudgery of co-
pying, and think they make a rapid progress, while they faithfully exhibit the minutest part of a
favourite picture. This appears to me a very tedious, and, I think, very erroneous method of pro-
ceeding. Of every large composition, even of those which are most admired, a great part may be
truly said to be common-place. This, though it takes up much time in copying, conduces little to
improvement. I consider general copying as a delusive kind of industry : the student satisfies him-
self with the appearance of doing something; he falls into the dangerous habit of imitating without
selecting, and of labouring without any determinate object: as it requires no effort of the mind, he
sleeps over his work ; and those powers of invention and composition which ought particularly
-to be called out and put in action, lie torpid, and lose their energy for want of exercise.
' However, as the practice of copying is not entirely to be excluded, since the mechanical practice
of painting is learned in some measure by it, let those choice parts only be selected, which have
recommended the work to notice. If its excellence consists in its general effect, it would be proper
to make slight sketches of the machinery, and general management of the picture. Those sketches
should be kept always by you, for the regulation of your style : instead of copying the touches of
these great masters, copy only their conceptions; instead of treading in their footsteps, endeavour
only to keep the same road. Labour to invent on their general principles and way of thinking;
possess yourself with their spirit; consider with yourself how a Michael Angelo, or a Raphael,
would