DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.19388#0014
OBSERVATIONS
ON THE
ART OF DESIGNING OR DRAWING.
'JTHE theory of design is the knowledge which is acquired by reading the best authors
who have laid down rules for the attainment of the art scientifically, and given
their judgment upon the performances of the greatest painters. By a thorough
knowledge of the theory of design, those who are themselves unable to draw the
most simple objects, may be qualified to pass sentence upon the works of the best
masters; and in this case theory being separated from practice, is usually considered
in another light, and distinguished by the appellation of taste. There is also another
way of acquiring taste without reading, and that is by frequently examining good
pictures in the presence of such as are esteemed judges of the art, who seldom
fail of giving their opinion without reserve; and thus, according to the portion
of knowledge they possess, and the understanding of those who are attentive to
their decisions, theory or taste may be obtained in a greater or lesser degree.
Theory, therefore, in this sense of the word, has hitherto been the great support of
painting: had taste been confined to practical study only, so many noble and in-
valuable pieces would not now have been found in the palaces of Princes, and the
houses of great men, whose avocations could not perhaps otherwise permit them
to acquire any taste at all for this art, and consequently painting would have found
no patronage.
The practical part of design is the constant application of the hand, assisted by the
understanding, in the imitation of variety of forms.
Those objects, whether persons or places, of which we have but a transient view,
are, in the memory, like sketches made with charcoal upon paper, which either the
slightest rubbing or a blast of wind will entirely deface : how then shall the hand, un-
accustomed to exercise in this art, perform its function, when the mind itself, after
the object has been removed from before it a short time, can retain only a confused
idea of its resemblance ? Theory and practice, therefore, ought to be inseparable ;
and the knowledge of either without its associate, can never produce any thing like
perfection.
ON THE
ART OF DESIGNING OR DRAWING.
'JTHE theory of design is the knowledge which is acquired by reading the best authors
who have laid down rules for the attainment of the art scientifically, and given
their judgment upon the performances of the greatest painters. By a thorough
knowledge of the theory of design, those who are themselves unable to draw the
most simple objects, may be qualified to pass sentence upon the works of the best
masters; and in this case theory being separated from practice, is usually considered
in another light, and distinguished by the appellation of taste. There is also another
way of acquiring taste without reading, and that is by frequently examining good
pictures in the presence of such as are esteemed judges of the art, who seldom
fail of giving their opinion without reserve; and thus, according to the portion
of knowledge they possess, and the understanding of those who are attentive to
their decisions, theory or taste may be obtained in a greater or lesser degree.
Theory, therefore, in this sense of the word, has hitherto been the great support of
painting: had taste been confined to practical study only, so many noble and in-
valuable pieces would not now have been found in the palaces of Princes, and the
houses of great men, whose avocations could not perhaps otherwise permit them
to acquire any taste at all for this art, and consequently painting would have found
no patronage.
The practical part of design is the constant application of the hand, assisted by the
understanding, in the imitation of variety of forms.
Those objects, whether persons or places, of which we have but a transient view,
are, in the memory, like sketches made with charcoal upon paper, which either the
slightest rubbing or a blast of wind will entirely deface : how then shall the hand, un-
accustomed to exercise in this art, perform its function, when the mind itself, after
the object has been removed from before it a short time, can retain only a confused
idea of its resemblance ? Theory and practice, therefore, ought to be inseparable ;
and the knowledge of either without its associate, can never produce any thing like
perfection.