DOI Heft:
No. 27 (June 1895)
DOI Artikel:Baldry, Alfred Lys: The Manchester School of Art
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.17294#0125
Manchester School of Art
technical grasp that comes from practical acquaint- repousse', printing, weaving ; the student by actual
ance with the many materials that are used in the practice testing his own design in relation to the
working out of designs, and in the production of method and materials of its reproduction." Upon
Art examples of different kinds. This, a purely it follow other developments : " Designing upon
given Constructive Lines,
Plans, or Bases," and " Re-
peating Pattern Construction,
of simple given units." These
five interdependent stages
practically cover the whole
ground of elementary con-
ventional designing, and serve
also the important purpose of
accustoming the student to
the use of his appliances in
the way which is not only best
suited to his especial needs
and to the particular class of
work to which he proposes to
devote himself, but is also
most helpful to him in less
exclusive forms of practice.
An exercise of a different
type succeeds, one that has
an educational influence of
wide importance. By acquir-
ing a grasp of " Direct Paint-
ing from Nature," the student
learns to observe, and to select
at first hand those materials
which he needs for the proper
working out of whatever ideas
he may have. In the earlier
exercises he has been dealing
with certain conventions that
have been supplied to him by
other people, now he has to
find out how to base upon
Nature herself the formulated
practice which controls all Art
work which is not merely in-
coherent. He begins in this
study of Nature to make out
for himself the connection
between creative and simply
reconstructive art, to see where
he has to go to replenish his
stock of ideas, and to increase
his breadth of view. He
DRAPERY STUDY IN WHITE CHALK BY MARY B KERRY ... , .
acquires by it analysis too,
executive stage, is devoted to the "execution of and power of comparison; and if he follows the
designs in various materials, and by various tech- lines laid down by Mr. Crane, " commencing by
nical processes; as, for instance, clay modelling, exercises with the full brush and colour, blocking
wax, gesso, wood-carving, brass and copper in in silhouette leaves and flowers as far as possible
106
technical grasp that comes from practical acquaint- repousse', printing, weaving ; the student by actual
ance with the many materials that are used in the practice testing his own design in relation to the
working out of designs, and in the production of method and materials of its reproduction." Upon
Art examples of different kinds. This, a purely it follow other developments : " Designing upon
given Constructive Lines,
Plans, or Bases," and " Re-
peating Pattern Construction,
of simple given units." These
five interdependent stages
practically cover the whole
ground of elementary con-
ventional designing, and serve
also the important purpose of
accustoming the student to
the use of his appliances in
the way which is not only best
suited to his especial needs
and to the particular class of
work to which he proposes to
devote himself, but is also
most helpful to him in less
exclusive forms of practice.
An exercise of a different
type succeeds, one that has
an educational influence of
wide importance. By acquir-
ing a grasp of " Direct Paint-
ing from Nature," the student
learns to observe, and to select
at first hand those materials
which he needs for the proper
working out of whatever ideas
he may have. In the earlier
exercises he has been dealing
with certain conventions that
have been supplied to him by
other people, now he has to
find out how to base upon
Nature herself the formulated
practice which controls all Art
work which is not merely in-
coherent. He begins in this
study of Nature to make out
for himself the connection
between creative and simply
reconstructive art, to see where
he has to go to replenish his
stock of ideas, and to increase
his breadth of view. He
DRAPERY STUDY IN WHITE CHALK BY MARY B KERRY ... , .
acquires by it analysis too,
executive stage, is devoted to the "execution of and power of comparison; and if he follows the
designs in various materials, and by various tech- lines laid down by Mr. Crane, " commencing by
nical processes; as, for instance, clay modelling, exercises with the full brush and colour, blocking
wax, gesso, wood-carving, brass and copper in in silhouette leaves and flowers as far as possible
106