DOI Heft:
No. 47 (February, 1897)
DOI Artikel:Allen, John Romilly: Early scandinavian wood-carvings
DOI Artikel:Baldry, Alfred Lys: Pencil drawing at Bushey
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.18388#0030
Pencil Drawing at Bushey
gebildeten Hohbaukunst, €s°c, in Norzvegens, pt. mits of a very high degree of finish in drawings that
ii. pi. 9); a fourth, formerly in Hitterdal Church,* are done with it, without requiring anything like
Norway, now in Lom Church, with a carving of extreme elaboration. Yet for some reason very few
King Gunnar harping in the Worm-pit (see L. H. men use it regularly or regard it as anything but a
S. 1 Hetrichson, De norske Stavkirker, p. 308); casual convenience for jotting down rough notes,
and a fifth, the In most of our Art
wooden churches HraV J^^^^^Kffljfy vlr j^Kftik* He has taught them
in Norway. HHHF >'■/' its flexibility, its
pencil is so much ^^^^ ..^ * ^ \ f^f to him as it^is in-
neglected as a teresting and signi-
medium for artis- ficant to every one
tic expression. study in lead pencil by e. borough johnson who is watching
It has ad van t- the progress of the
ages of a very definite kind; it is clean, easy to educational movement of which he is the
handle, capable of giving excellent results with a guiding spirit. His view is that this particular
comparatively small amount of labour, and it per- material is of all those at the artist's disposal the
handiest and most workable, the best for general
* This chair is stated in du Chaillu's Viking Age, vol. ii. USe, and the most comprehensive for the treatment
p. 256, to be on the farm of Hove, but the information con- Qf complicated effect;J of tone and light and shade.
tamed in that work is most inaccurate and unreliable. „. . , . . .... r ,
t li. Thorpe's Edda of Samund. There ls hardly anything within the range of the
% E. Magnusson and W. Morris's Vohunga Saga. black-and-white draughtsman which the lead pencil
§ W. N. Lettson's Nibelungeti. will not interpret in any degree of subtlety or
20
P
1 B
gebildeten Hohbaukunst, €s°c, in Norzvegens, pt. mits of a very high degree of finish in drawings that
ii. pi. 9); a fourth, formerly in Hitterdal Church,* are done with it, without requiring anything like
Norway, now in Lom Church, with a carving of extreme elaboration. Yet for some reason very few
King Gunnar harping in the Worm-pit (see L. H. men use it regularly or regard it as anything but a
S. 1 Hetrichson, De norske Stavkirker, p. 308); casual convenience for jotting down rough notes,
and a fifth, the In most of our Art
wooden churches HraV J^^^^^Kffljfy vlr j^Kftik* He has taught them
in Norway. HHHF >'■/' its flexibility, its
pencil is so much ^^^^ ..^ * ^ \ f^f to him as it^is in-
neglected as a teresting and signi-
medium for artis- ficant to every one
tic expression. study in lead pencil by e. borough johnson who is watching
It has ad van t- the progress of the
ages of a very definite kind; it is clean, easy to educational movement of which he is the
handle, capable of giving excellent results with a guiding spirit. His view is that this particular
comparatively small amount of labour, and it per- material is of all those at the artist's disposal the
handiest and most workable, the best for general
* This chair is stated in du Chaillu's Viking Age, vol. ii. USe, and the most comprehensive for the treatment
p. 256, to be on the farm of Hove, but the information con- Qf complicated effect;J of tone and light and shade.
tamed in that work is most inaccurate and unreliable. „. . , . . .... r ,
t li. Thorpe's Edda of Samund. There ls hardly anything within the range of the
% E. Magnusson and W. Morris's Vohunga Saga. black-and-white draughtsman which the lead pencil
§ W. N. Lettson's Nibelungeti. will not interpret in any degree of subtlety or
20
P
1 B