DOI Page / Citation link:
https://doi.org/10.11588/diglit.19953#0053
DRAWING FROM THE LIVING FIGURE.
51
is given : and indeed, in many instances we find the land-
scape and figure painters combining their talents in the
same work with the most successful result.
The pupil, who commences with landscape drawing,
may, if care be not taken in the commencement, acquire a
looseness of hand that will be prejudicial to him in figure
drawing. The suddenly terminated and accented line
which the landscape draughtsman is in the habit of using,
though commonly resorted to by the figure draughtsman
in sketching his first ideas of general form in groups,
and even in single figures, must be adopted with the
utmost circumspection by the student; and it must be
borne in mind that the peculiar charm in such lines
results from the perfect mastery exhibited in their group-
ings and proportions. This mastery is brought about by
long practice; and even these peculiar appearances of
facility are so many proofs that the master hand, Avhich
accomplished them, had been early tutored in the more
severe, but at the same time simpler, manner of line.
The master, in using the pencil in this manner, may be
said to paint with it. The best line for the pupil to
adopt, is the pure simple line of equal pressure through-
out ; such we find in the beautiful outlines of Flaxman,
such we find in the still more beautiful delineations on
the antique vases, those models upon which he formed his
taste.
In the character of finished outline subjects, such as we
51
is given : and indeed, in many instances we find the land-
scape and figure painters combining their talents in the
same work with the most successful result.
The pupil, who commences with landscape drawing,
may, if care be not taken in the commencement, acquire a
looseness of hand that will be prejudicial to him in figure
drawing. The suddenly terminated and accented line
which the landscape draughtsman is in the habit of using,
though commonly resorted to by the figure draughtsman
in sketching his first ideas of general form in groups,
and even in single figures, must be adopted with the
utmost circumspection by the student; and it must be
borne in mind that the peculiar charm in such lines
results from the perfect mastery exhibited in their group-
ings and proportions. This mastery is brought about by
long practice; and even these peculiar appearances of
facility are so many proofs that the master hand, Avhich
accomplished them, had been early tutored in the more
severe, but at the same time simpler, manner of line.
The master, in using the pencil in this manner, may be
said to paint with it. The best line for the pupil to
adopt, is the pure simple line of equal pressure through-
out ; such we find in the beautiful outlines of Flaxman,
such we find in the still more beautiful delineations on
the antique vases, those models upon which he formed his
taste.
In the character of finished outline subjects, such as we