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#0126
Manchester School of Art
from growing plants," he not only sacrifices none of of dramatic expression ; while the comparison of the
the freedom of hand which the earlier stages of this relative structure of the various parts in man and
course will have given him, but gains as well the animals gives to the student a wide appreciation of
power to record whatever in
Nature seems to him to be
worth adapting to the pur-
poses of design.
In the same way as he re-
combined by direct designing
the forms with which at the
outset he dealt in his freehand
drawing, so he has to follow
up painting of various details
from Nature with " Space-
Filling," or, in other words,
with the ordering of natural
objects into compositions that
will occupy properly areas of
different sizes and shapes.
This "exercise in the deco-
rative filling of given spaces
both with figures, animals,
and scroll and leaf forms," is
actually pictorial composition
of the simplest sort; just as
the next exercise, " Life Study
in relation to Architectural
Forms, Spaces, and Back-
grounds," is the beginning
and main motive of the sculp-
tor's practice, and is the
foundation of all that is most
important in the intelligent
arrangement of forms and
masses.
Of the four sections of Mr.
Crane's programme which still
remain to be considered, the
first three—" Study of Action
of the human figure and its
expression," " Study in Com-
parative Anatomy, relative
structure and correspondence
of limbs and parts in man and
animals," and " Black and
White Drawing with pen and
brush in relation to book deco-
ration and illustration "—are
again interdependent. The
" rapid studies of leading lines
and notes of motion and momentary attitudes from the variety of Nature, a type of experience without
the living model," which are prescribed in the first which his efforts in book illustration must inevit-
of the three, are indispensable for any vivid realisa- ably fail in necessary truth and accuracy. The
tion not only of pictorial effect, but also of all kinds exercise in black and white drawing affords full
107
DRAPERY STUDY IN WHITE CHALK BY MARY B. KERRY
from growing plants," he not only sacrifices none of of dramatic expression ; while the comparison of the
the freedom of hand which the earlier stages of this relative structure of the various parts in man and
course will have given him, but gains as well the animals gives to the student a wide appreciation of
power to record whatever in
Nature seems to him to be
worth adapting to the pur-
poses of design.
In the same way as he re-
combined by direct designing
the forms with which at the
outset he dealt in his freehand
drawing, so he has to follow
up painting of various details
from Nature with " Space-
Filling," or, in other words,
with the ordering of natural
objects into compositions that
will occupy properly areas of
different sizes and shapes.
This "exercise in the deco-
rative filling of given spaces
both with figures, animals,
and scroll and leaf forms," is
actually pictorial composition
of the simplest sort; just as
the next exercise, " Life Study
in relation to Architectural
Forms, Spaces, and Back-
grounds," is the beginning
and main motive of the sculp-
tor's practice, and is the
foundation of all that is most
important in the intelligent
arrangement of forms and
masses.
Of the four sections of Mr.
Crane's programme which still
remain to be considered, the
first three—" Study of Action
of the human figure and its
expression," " Study in Com-
parative Anatomy, relative
structure and correspondence
of limbs and parts in man and
animals," and " Black and
White Drawing with pen and
brush in relation to book deco-
ration and illustration "—are
again interdependent. The
" rapid studies of leading lines
and notes of motion and momentary attitudes from the variety of Nature, a type of experience without
the living model," which are prescribed in the first which his efforts in book illustration must inevit-
of the three, are indispensable for any vivid realisa- ably fail in necessary truth and accuracy. The
tion not only of pictorial effect, but also of all kinds exercise in black and white drawing affords full
107
DRAPERY STUDY IN WHITE CHALK BY MARY B. KERRY