DOI Heft:
No. 47 (February, 1897)
DOI Artikel:Baldry, Alfred Lys: Pencil drawing at Bushey
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.18388#0034
Pencil Drawing at Bushey
a tone and a line art," and of enthusiastically recom- make their preparatory studies as helpful as pos-
mending the method which they follow' because sible in the later stages of their pictures. If, as
" with the broad strokes that possess the quality of Professor Herkomer and his students may fairly
colour washes there is the additional possibility of claim to have proved,.this bridging over is possible
the most minute detail with the point." Such a with a material so generally accessible as ordinary
combination is naturally full of fascination to an black' lead no painter can plead the difficulty of
artistic innovator who is always striving to simplify making his point drawings pictorially intelligible as
at all a valid reason for neg-
lecting those preliminary
notes which are likely to
have so much influence
• upon the ultimate success
of any picture that requires
careful and detailed building
up.
No doubt something of
the quality which has been
attained by the Bushey
students in their work with
lead pencil is to be ascribed
to themanner in which they
use it. In the old days of
book illustration, when the
only intermediary between
the artist and his public was
the wood engraver, the pencil
was the recognised medium
for putting into visible form
the intentions of the
draughtsman. Then, how-
ever, it was regarded as a
point pure and simple, and
all the effects which it was
used to express were arrived
at by means of lines of the
finest and most definite
kind. Drawings were made
directly upon the wood
block, and the lead most in
favour was a very hard one,
which was susceptible of
STUDY IN LEAD PENCIL BY E. BOROUGH JOHNSON . nothing in the way 0f broad
touching or effective tone
methods and to arrive at comprehensive processes ; statement. The pencil was accepted as the ideal
and a black-and-white medium which has, in addi- instrument for minute elaboration, and was espe-
tion to very obvious merits of its own, distinct cially depended upon when such extraordinary
affinities with what is after all the real occupation detail as may be seen, for instance, in Professor
of the artist—painting—is one which, in such an art Adolph Menzel's illustrations to the works of
centre as the Bushey school, is certain to be wel- Frederick the Great had to be dealt with, detail
come and sure to be thoroughly appreciated. Any- which is hardly ever attempted by present day
thing which bridges over the gulf between the illustrators.
technique of the point and that of the brush, claims At Bushey now a very different view of the duties
from every art educator strenuous support, and of the draughtsman for reproduction is taken corn-
deserves the attention of all artists who wish to pared with that which prevailed in bygone years.
24
a tone and a line art," and of enthusiastically recom- make their preparatory studies as helpful as pos-
mending the method which they follow' because sible in the later stages of their pictures. If, as
" with the broad strokes that possess the quality of Professor Herkomer and his students may fairly
colour washes there is the additional possibility of claim to have proved,.this bridging over is possible
the most minute detail with the point." Such a with a material so generally accessible as ordinary
combination is naturally full of fascination to an black' lead no painter can plead the difficulty of
artistic innovator who is always striving to simplify making his point drawings pictorially intelligible as
at all a valid reason for neg-
lecting those preliminary
notes which are likely to
have so much influence
• upon the ultimate success
of any picture that requires
careful and detailed building
up.
No doubt something of
the quality which has been
attained by the Bushey
students in their work with
lead pencil is to be ascribed
to themanner in which they
use it. In the old days of
book illustration, when the
only intermediary between
the artist and his public was
the wood engraver, the pencil
was the recognised medium
for putting into visible form
the intentions of the
draughtsman. Then, how-
ever, it was regarded as a
point pure and simple, and
all the effects which it was
used to express were arrived
at by means of lines of the
finest and most definite
kind. Drawings were made
directly upon the wood
block, and the lead most in
favour was a very hard one,
which was susceptible of
STUDY IN LEAD PENCIL BY E. BOROUGH JOHNSON . nothing in the way 0f broad
touching or effective tone
methods and to arrive at comprehensive processes ; statement. The pencil was accepted as the ideal
and a black-and-white medium which has, in addi- instrument for minute elaboration, and was espe-
tion to very obvious merits of its own, distinct cially depended upon when such extraordinary
affinities with what is after all the real occupation detail as may be seen, for instance, in Professor
of the artist—painting—is one which, in such an art Adolph Menzel's illustrations to the works of
centre as the Bushey school, is certain to be wel- Frederick the Great had to be dealt with, detail
come and sure to be thoroughly appreciated. Any- which is hardly ever attempted by present day
thing which bridges over the gulf between the illustrators.
technique of the point and that of the brush, claims At Bushey now a very different view of the duties
from every art educator strenuous support, and of the draughtsman for reproduction is taken corn-
deserves the attention of all artists who wish to pared with that which prevailed in bygone years.
24