DOI Heft:
Nr. 191 (February 1909)
DOI Artikel:Pen drawings with special reference to a recent 'Studio' competition
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.20966#0074
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Pen Drawing
^/^Sr^oltthoi'pr. Crf^
PEN DRAWING
himself for his work, but one that is merciless in
its exposure of the student who has shirked his
responsibilities.
When there is this basis of thorough study to go
upon, a fascinating quality can be given to the pen
drawing. It acquires a delightful sensitiveness and
flexibility of line, an expressive delicacy of touch,
and an intimacy of suggestion by what seem to be
the simplest of technical devices; and it gains just
that note of confidence which is needed to make
the artist’s intentions perfectly intelligible. Nothing
is exaggerated, nothing is out of relation, and
nothing spoils the impression of masterly simplicity
which results from the draughtsman’s skilful elimi-
nation of everything that does not help to complete
his work. There is no affectation of cleverness and
no trickery, but there is instead the quiet certainty
of the man who knows his craft and who has formed
his style by schooling himself in the right principles.
The drawings which are reproduced here are well
worthy of attention as examples of the way in which
the pen can be made to serve effectively the artist’s
purpose. They have been selected from a large
series sent in for competition, and in their variety
of manner and their quality of achievement they
give a good idea of the general character of the
52
work for which the competitors have been
responsible. The series, as a whole, shows
that there is a very wide understanding
of the principles which should be followed
in legitimate pen drawing, and that a
number of people study and apply these
principles with thorough intelligence and
no lack of technical skill. Several of the
drawings, indeed, have merits of a high
order and can be accepted as quite
adequate illustrations of the best kind of
line work, and many others, which have
deficiencies due to inexperience only,
can be sincerely commended for their ad-
herence to sound traditions and for their
correctness of method.
For example, the drawing of an old
mill by £; Hembee ” is exceptionally satis-
factory in its frank and intelligent treat-
ment. Freedom from affectation and
avoidance of anything like artificiality are
not the least of its merits; and among
them, too, must be counted its excellent
light and shade arrangement. The study
by “Trevena,” less deliberately pictu-
resque and less obviously effective, has
again agreeable qualities of line and
a purity of method that claims respect;
its delicate precision, which is not carried to any
excess of formality, gives to it a breadth of effect that
is distinctly pleasing. “ Roath’s ” careful, formal,
p P c
■? -‘‘t JimPTi
PEN DRAWING
BY “TEDDIE
Pen Drawing
^/^Sr^oltthoi'pr. Crf^
PEN DRAWING
himself for his work, but one that is merciless in
its exposure of the student who has shirked his
responsibilities.
When there is this basis of thorough study to go
upon, a fascinating quality can be given to the pen
drawing. It acquires a delightful sensitiveness and
flexibility of line, an expressive delicacy of touch,
and an intimacy of suggestion by what seem to be
the simplest of technical devices; and it gains just
that note of confidence which is needed to make
the artist’s intentions perfectly intelligible. Nothing
is exaggerated, nothing is out of relation, and
nothing spoils the impression of masterly simplicity
which results from the draughtsman’s skilful elimi-
nation of everything that does not help to complete
his work. There is no affectation of cleverness and
no trickery, but there is instead the quiet certainty
of the man who knows his craft and who has formed
his style by schooling himself in the right principles.
The drawings which are reproduced here are well
worthy of attention as examples of the way in which
the pen can be made to serve effectively the artist’s
purpose. They have been selected from a large
series sent in for competition, and in their variety
of manner and their quality of achievement they
give a good idea of the general character of the
52
work for which the competitors have been
responsible. The series, as a whole, shows
that there is a very wide understanding
of the principles which should be followed
in legitimate pen drawing, and that a
number of people study and apply these
principles with thorough intelligence and
no lack of technical skill. Several of the
drawings, indeed, have merits of a high
order and can be accepted as quite
adequate illustrations of the best kind of
line work, and many others, which have
deficiencies due to inexperience only,
can be sincerely commended for their ad-
herence to sound traditions and for their
correctness of method.
For example, the drawing of an old
mill by £; Hembee ” is exceptionally satis-
factory in its frank and intelligent treat-
ment. Freedom from affectation and
avoidance of anything like artificiality are
not the least of its merits; and among
them, too, must be counted its excellent
light and shade arrangement. The study
by “Trevena,” less deliberately pictu-
resque and less obviously effective, has
again agreeable qualities of line and
a purity of method that claims respect;
its delicate precision, which is not carried to any
excess of formality, gives to it a breadth of effect that
is distinctly pleasing. “ Roath’s ” careful, formal,
p P c
■? -‘‘t JimPTi
PEN DRAWING
BY “TEDDIE