DOI Heft:
No. 137 (August, 1904)
DOI Artikel:Anderson, Alder: Some sketches by Paul Renouard
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.19882#0250
Sketches by Paul Renouard
are commingled in such nearly equal proportions. Movement has been the study of his lifetime,
Renouard has more cheery views, and is inclined and herein probably lies the principal secret of his
to laughter rather than to tears, a question, doubt- success. Very early in his career he perceived that
less, of individual temperament. There is in his the emotions and passions are not expressed merely
nature, moreover, a strong blend of that instinct by a modification of the features; the whole physical
for " actuality " and broad effect which characterises being participates in the result, and the position of
the successful journalist. an arm or a leg is quite as expressive and char-
acteristic as any change that is apparent
in the face. The body acts altogether
as a whole, and there must be no jarring
note in the ensemble if its presentment in
art is to produce its full effect upon the
imagination of the beholder. The truth
of this axiom has been amply confirmed
by photography, notably in the elaborate
experiments carried out by Professor Marey
and others. It will be sufficient for present
purposes to quote a single instance. An
athlete who makes the effort of throwing
a heavy weight with the right hand
invariably clenches the thumb of the
left hand at the critical moment. Such
a slight detail as this might well escape
the conscious observation of even an
acute onlooker, as its duration is, after
all, but momentary. If, however, we
were shown a picture of an athlete in
the act of throwing a weight whose left
thumb was not correctly placed, the pro-
bability is that we would vaguely perceive
there was something lacking without being
able to define precisely what that some-
thing was. In maintaining, therefore, as
he does, that the croquis is the basis of
every excellence, Renouard is but giving
utterance to a truth which he has dis-
covered for himself in that best of all
schools, experience, but which is likely
to be accepted by everyone who has any
ambition to excel in the same path.
Nowadays, when Renouard's value is
so universally recognised, it seems diffi-
cult to believe that it could ever have
been otherwise. Such, however, is the
case. Few men, indeed, have had greater
difficulty to " pierce " than he. For many
a day after he had definitely adopted the
profession of artistic faith which appeared
to him to be the only true creed, he
himself was practically the only believer.
One of the great disadvantages under
which an artist labours who confines
"merci, monsieur! remember that i am only known himself exclusively to such a medium as
under my professional name ! ...
from a sketch by paul renouard black-and-white is that he is absolutely
226
are commingled in such nearly equal proportions. Movement has been the study of his lifetime,
Renouard has more cheery views, and is inclined and herein probably lies the principal secret of his
to laughter rather than to tears, a question, doubt- success. Very early in his career he perceived that
less, of individual temperament. There is in his the emotions and passions are not expressed merely
nature, moreover, a strong blend of that instinct by a modification of the features; the whole physical
for " actuality " and broad effect which characterises being participates in the result, and the position of
the successful journalist. an arm or a leg is quite as expressive and char-
acteristic as any change that is apparent
in the face. The body acts altogether
as a whole, and there must be no jarring
note in the ensemble if its presentment in
art is to produce its full effect upon the
imagination of the beholder. The truth
of this axiom has been amply confirmed
by photography, notably in the elaborate
experiments carried out by Professor Marey
and others. It will be sufficient for present
purposes to quote a single instance. An
athlete who makes the effort of throwing
a heavy weight with the right hand
invariably clenches the thumb of the
left hand at the critical moment. Such
a slight detail as this might well escape
the conscious observation of even an
acute onlooker, as its duration is, after
all, but momentary. If, however, we
were shown a picture of an athlete in
the act of throwing a weight whose left
thumb was not correctly placed, the pro-
bability is that we would vaguely perceive
there was something lacking without being
able to define precisely what that some-
thing was. In maintaining, therefore, as
he does, that the croquis is the basis of
every excellence, Renouard is but giving
utterance to a truth which he has dis-
covered for himself in that best of all
schools, experience, but which is likely
to be accepted by everyone who has any
ambition to excel in the same path.
Nowadays, when Renouard's value is
so universally recognised, it seems diffi-
cult to believe that it could ever have
been otherwise. Such, however, is the
case. Few men, indeed, have had greater
difficulty to " pierce " than he. For many
a day after he had definitely adopted the
profession of artistic faith which appeared
to him to be the only true creed, he
himself was practically the only believer.
One of the great disadvantages under
which an artist labours who confines
"merci, monsieur! remember that i am only known himself exclusively to such a medium as
under my professional name ! ...
from a sketch by paul renouard black-and-white is that he is absolutely
226