DOI Heft:
No. 35 (February, 1896)
DOI Artikel:Baldry, Alfred Lys: Private schools of art, [1], The studios of Mr. W. J. Donne and Mrs. Jopling-Rowe
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.17296#0057
Private Schools of Art
that the most successful products of a school con- the living model, and to make drawings that have
ducted on such lines are those which show least to be closely considered and exactly expressed,
the tradition of the school as such. The only com- He works in charcoal and draws the full-length
nion starting-point is the knowledge how to look figure, aiming from the first at correct construction
for and appreciate essentials of construction and and posing. Stippling and surface finish are not
expression. When once this is acquired each stu- permitted, and no head studies are attempted till
dent is encouraged to follow the lead of his own there is clear evidence that the student appreciates
individuality ; and not only is his progress accom- at their full value the main principles of life study,
panied by the master who is prepared at once to Speed in execution and instinctive grasp of essen-
tials are secured by making
a great number of drawings
—often twro or three a day
—at this stage. When by
such means his understand-
ing of the relation of masses
and of the placing of
shadows and larger model-
lings are well established,
he proceeds to work with
the brush and paints and
draws on alternate weeks.
A good, well-expressed
drawing is made the basis
of every painted study, and
the relations of the various
coloured surfaces one to
the other and to the back-
grounds are recorded
broadly and simply, but
with extreme care. With
greater experience come
closer attention to subtle-
ties, and more minute ex-
pression of the finer qualities
of light and shade variation.
When dealing with the
draped model extreme care
has to be taken not to lose
the forms of the figure be-
neath, and the relative com-
position of the lines both of
the limbs and draperies has
. . to be very minutely at-
A STUDY BY MISS AUSTIN (MRS. JOPLINC-ROWE S STUDIO) ' '
tended to. Everything, in
fact, has to be considered
check any lapses into mere inexpressiveness on the with regard not merely to the satisfactory interpreta-
one hand or into simple imitation on the other, but tion of the particular subject before the student at
also he is not tempted by the bad influence of com- the moment, but with quite as much thought for
petition for prizes and medals to sink into narrow the future application of knowledge so acquired to
specialism. future work of wider scope and more exacting
The details of the training to which all the stu- character,
dents in this school are subjected are worth noting. The model in the Grosvenor Studio sits daily
As soon as the beginner can draw ordinary still-life from 10 to 4, nude for three weeks out of each
objects with fair accuracy he is set to work from month, and draped for the remaining week; and
44
that the most successful products of a school con- the living model, and to make drawings that have
ducted on such lines are those which show least to be closely considered and exactly expressed,
the tradition of the school as such. The only com- He works in charcoal and draws the full-length
nion starting-point is the knowledge how to look figure, aiming from the first at correct construction
for and appreciate essentials of construction and and posing. Stippling and surface finish are not
expression. When once this is acquired each stu- permitted, and no head studies are attempted till
dent is encouraged to follow the lead of his own there is clear evidence that the student appreciates
individuality ; and not only is his progress accom- at their full value the main principles of life study,
panied by the master who is prepared at once to Speed in execution and instinctive grasp of essen-
tials are secured by making
a great number of drawings
—often twro or three a day
—at this stage. When by
such means his understand-
ing of the relation of masses
and of the placing of
shadows and larger model-
lings are well established,
he proceeds to work with
the brush and paints and
draws on alternate weeks.
A good, well-expressed
drawing is made the basis
of every painted study, and
the relations of the various
coloured surfaces one to
the other and to the back-
grounds are recorded
broadly and simply, but
with extreme care. With
greater experience come
closer attention to subtle-
ties, and more minute ex-
pression of the finer qualities
of light and shade variation.
When dealing with the
draped model extreme care
has to be taken not to lose
the forms of the figure be-
neath, and the relative com-
position of the lines both of
the limbs and draperies has
. . to be very minutely at-
A STUDY BY MISS AUSTIN (MRS. JOPLINC-ROWE S STUDIO) ' '
tended to. Everything, in
fact, has to be considered
check any lapses into mere inexpressiveness on the with regard not merely to the satisfactory interpreta-
one hand or into simple imitation on the other, but tion of the particular subject before the student at
also he is not tempted by the bad influence of com- the moment, but with quite as much thought for
petition for prizes and medals to sink into narrow the future application of knowledge so acquired to
specialism. future work of wider scope and more exacting
The details of the training to which all the stu- character,
dents in this school are subjected are worth noting. The model in the Grosvenor Studio sits daily
As soon as the beginner can draw ordinary still-life from 10 to 4, nude for three weeks out of each
objects with fair accuracy he is set to work from month, and draped for the remaining week; and
44