Table Of Contents

PREFACE vii

I. INTRODUCTION i

Inadequacy of artistic anatomies. Figure-drawing best method of study. Ruskin. Equilibrium. Choice. Integrality. Finish. Knowledge and intuition. Pseudo-science. Cezanne. Influence of Far East. The Tao. Sié Ho's Six Laws. Want of figure-work among Celts and Germans. Greek art.

II. RELATIONS BETWEEN COMPOSITION AND DRAWING 23

Composition a bad term. Art a symbolism. Drawing and composition. Painting and sculpture. Mi Fu. Knowledge to be concealed. Reason for plastic arts. Imitation of Nature. Van Gogh and Cézanne. Modifications of natural form. Matisse. Michael-Angeio, Matisse. Wang Wei. Plastic expression of abstract ideas. Geometric rigidity. Luca Cambiaso.

III. TECHNICAL METHODS 48

Each tool has a particular use. Methods of brush-holding in Egypt, Greece, China. How a drawing is made is important ; but academic prescriptions are bad. Study and drudgery. Plumb and measuring. Volumes essential. Rhythmic relation of mass. ' First lines.'

Size of drawings. Rodin. Moving model. Pagination of drawing. Large number of drawings. Simultaneous observation. Measurements anti-artistic. Rhythm. Tidiness. Proportions. Various kinds of rhythm. Method of enlarging.

IV. MASS EQUILIBRIUM 75

Equilibrium. ' Flat ' harmony and 4 mass ' harmony. Rhythm of great masses. Analysis of a drawing. Recessional modelling. Model-

3109 b

Drawing from the antique, ■spective surfaces. Volumes ling in clay. Suggestion of solidity by 1 Gravitation. Stability. Greek vases, in perspective. Centre of gravity. Puvis de

Curve equilibrium. Growth and gravitation. Human body is a and

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Freehand Sketching An Introduction

Freehand Sketching An Introduction

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