DOI Heft:
Nr. 121 (April 1903)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.19878#0221
Studio- Talk
to interpret the values of colour, model-
ling in their own way and from their
own point of view. Thus they learn at
once the skilful use of the pencil, and
to understand and appreciate the beauty
of form and of outline at its best.
That they can so learn, a glance at the
exhibited work conclusively proves.
The encouragement of memory draw-
ing further develops the habit of careful
observation; and not until the students
have become imbued with this spirit,
and have won their spurs, can they go
forward to more ambitious work. All
this is not, of course, new, for it only
follows the lead of a system that has
been established in Japan and in other
parts of the East for many years.
When the student enters the metal-
work class the same sound teaching
prevails. He is taught to use his tools
first, and to fully understand the value
and nature of the material in which he
wishes to work. In many schools the
customary procedure is for the student
to produce an elaborate, over-ambitious
PORTRAIT OF RICHARD COTTON, ESQ., M.D. BY R. E. MORRISON deS'gn> ^ then t0 Jt °Ut
(See Liverpool Studio-Talk) with more or less success. Here,
when the student is thoroughly con-
s no easy critic to satisfy. And it is to the versant with the use of his tools, and not until
system, and hence to Mr. Catterson Smith who then, he is given a flat piece of metal, and
has originated and carried it out so thoroughly, is set to wield it into some form and design
that much of the credit so freely given is due. that shall come from himself and grow as
The system is a very
simple one, and consists in
going back to the first
and everlasting principles
of art. In the drawing
school, instead of the
conventional classical out-
lines, the Grecian or Re-
naissance casts and models,
the students are taken
to nature, and are set to
draw living or stuffed
birds and animals, or
growing flowers, first in out-
line, later in shaded draw-
ings. With as little
interference as can be necklet designed by rudolf cizek
, . executed by julius hugeler
permitted, they are led , (See Vienna Studio-Talk)
209
to interpret the values of colour, model-
ling in their own way and from their
own point of view. Thus they learn at
once the skilful use of the pencil, and
to understand and appreciate the beauty
of form and of outline at its best.
That they can so learn, a glance at the
exhibited work conclusively proves.
The encouragement of memory draw-
ing further develops the habit of careful
observation; and not until the students
have become imbued with this spirit,
and have won their spurs, can they go
forward to more ambitious work. All
this is not, of course, new, for it only
follows the lead of a system that has
been established in Japan and in other
parts of the East for many years.
When the student enters the metal-
work class the same sound teaching
prevails. He is taught to use his tools
first, and to fully understand the value
and nature of the material in which he
wishes to work. In many schools the
customary procedure is for the student
to produce an elaborate, over-ambitious
PORTRAIT OF RICHARD COTTON, ESQ., M.D. BY R. E. MORRISON deS'gn> ^ then t0 Jt °Ut
(See Liverpool Studio-Talk) with more or less success. Here,
when the student is thoroughly con-
s no easy critic to satisfy. And it is to the versant with the use of his tools, and not until
system, and hence to Mr. Catterson Smith who then, he is given a flat piece of metal, and
has originated and carried it out so thoroughly, is set to wield it into some form and design
that much of the credit so freely given is due. that shall come from himself and grow as
The system is a very
simple one, and consists in
going back to the first
and everlasting principles
of art. In the drawing
school, instead of the
conventional classical out-
lines, the Grecian or Re-
naissance casts and models,
the students are taken
to nature, and are set to
draw living or stuffed
birds and animals, or
growing flowers, first in out-
line, later in shaded draw-
ings. With as little
interference as can be necklet designed by rudolf cizek
, . executed by julius hugeler
permitted, they are led , (See Vienna Studio-Talk)
209