The elements of art; a manual for the amateur, and basis of study for the professional artist

Front matter

THE

ELEMENTS OF ART

A

Introduction

or words. To draw a horse, that shall not be mistaken for a man, is one step 5 but to draw a horse, with all his just proportions and developments, movement and expression, is an Art to be acquired. Any one can make something on paper to look like a tree, a cottage, a road, a brook, or a mountain 5 but Art goes farther, and, as if to compensate for what it falls short of, invests the whole with a charm more impressive than the reahty, even to the most simple-minded cow-boy, who may have gone that road or waded that brook a thousand times, unconscious of the beauty that surrounded him, until it was developed by the hand of Art.

Who has ever hesitated to teach a child to write, because it was not intended that he should be an author ? How many regard the art of Drawing as being of no practical importance, as a branch of education, to any but professional artists 5 and consider it, in its most favorable light, as a mere accomplishment — a pursuit only for the man of leisure ? The resources of our schools are often exhausted in “ finishing” our youth with ‘‘ every accomplishment j” laid on so lightly, that, for all real and practical purposes, they are as ephemeral as the gay tints of the painted butterfly. Smatterings of languages, living and dead, are heaped upon them, while the great, universal language, the language of Design, is forgotten j or only thought of in the production of some huge ‘‘ castle and ruins, with a man and a boy with a stick 5 and a dog” — painted by the teacher, under the scholar’s direction, to hang in the parlor, as the veritable, first, and last, and only production, of the latter : who at once assumes, therefrom, an oracular authority in all matters connected with the Fine Arts, and leaves admiring friends in wonder, at what ‘‘he might have done, had he not given it up.” To such, it may be said, “You have never begun.”

It is not only as a beautiful accomplishment, or a source of amusement for leisure moments, that the art of Drawing should be cultivated. It has its practical uses, in every occupation of life. It opens to all inexhaustible sources of utility, as well as pleasure 5 practises the eye to observe, and the hand to record, the ever-varying beauty with which nature abounds, and spreads a charm around every object of God’s beautiful creation, unfelt and unknown to those who have failed or neglected its cultivation. It does more : it gives strength to the arm of the mechanic, and taste and skill to the producer, not only of the embellishments, but actual necessities of life. From the anvil of the smith and the workbench of the joiner, to the manufacturer of the most costly productions of ornamental art, it is ever at hand with its powerful aid, in strengthening invention and execution, and qualifying the mind and hand to design and produce whatever the wants or the tastes of society may require.

I N T R () ]) II C T ION.

r,

Many are deterred from attempting the art of Drawing, from an idea that they lack capacity, or, what the world calls genius. But have they ever made the attempt ? Let them recall to mind their first steps in knowledge of every kind, and judge not unfairly of their capacity, until they have tried this also. Before they knew their A, B, C, they could tell a man from a dog, by the picture. The impressions of form are the first made on the infant mind 5 and were it taught, betimes, to trace these impressions on a slate, there would be few in the world incapable of speaking the language of Design. The untaught savage thus records the story of his battles 5 as the traditions of his fathers have come down to him from generation to generation. He directs the traveller on his way, by marks in the sand j tells him, by his rude outline, of mountains and rivers to be passed j and no one can mistake his meaning. Who is there, in civilized fife, that may have been familiar with works of art from childhood, that can not do this ? If he can, he can do more. He possesses the germ within him, and needs only proper cultivation, to bring it forth.

As in other arts and studies, all can not expect to be equahy perfect, so all can not expect to rival the master-spirits in the arts of Design. The work of an artist is that of a lifetime of arduous toil and study. Of the thousands who delight themselves and their friends in music, how few have composed an opera, or even achieved the composition of a single air ? Yet, what would the world lose, were none to attempt the cultivation of this refined and charming accomplishment, but those who devoted themselves, exclusively, to its pursuit ! Were music neglected as a study by all except those who make it the business of their lives, even they would find few to admire and sympathize with them, in their greatest productions, for want of taste and understanding.

In the elementary portions of this work, the smile of the professional artist may be moved, when he finds the author dwelling on what some may think trifles, and giving mstruction in the methods of sharpening a pencil and making a pen. But let him remember the day that that instruction might have helped even him. When the pupil in Drawing has attained a proficiency to place him in the position of an artist, his course of study will require a direction beyond tlie means of these pages to afford him. This he must obtain elsewhere, and pursue, with that fixed determination and singleness of purpose, by which excellence is only to be achieved ; and he will find that, could all that he requires be placed at once within his reach, it would lie, in a measure, valueless, for want of that strength to appreciate and appropriate such advantages, which is best acquired by patient search and progressive attainment. Short-cuts and easy roads to

INTRODUCTION.

knowledge give but little real aid to him who has a long and arduous journey to pursue ; though it is scarcely worth while to hazard an experiment, by which the spirit may be broken down with toil, in a path into which we occasionally diverge, as a recreation, or an accessory to other pursuits.

From the delight, as well as profit, that awaits them, all may be safely invited and tempted to the study of Drawing. They may find difficulties ; but they will find pleasures, also, of the richest kind. They will find ffowers blooming along their way, and wonders opening before them at every step : nature unfolding her ample volumes, and displaying combinations of beauty and dehght, beyond the power of words to tell them of. It will be theirs, to record the everchanging pictures of earth and heaven 5 to give them body and form, in which others, less favored than themselves, may participate through them : theirs, to preserve the image of some cherished object long after it has ceased, in its reality, to exist — or, perhaps, to call forth some priceless treasure from the world of poetry and thought.

To those who have in view more than mere pleasure and amusement in the pursuit of the art of Drawing, may be fairly promised advantages that they will surely realize ; and a portion of this work will be devoted especially to those who look to the application of the art to its most practical purposes. Most of the difficulties constantly felt by artificers in the execution of their handiwork, will be obviated, when the same hand that executes can design. Let our mechanics have their apprentices instructed in Drawing, and the effects will be soon evident in their workshops. They will no longer depend upon foreign inventions, that are, after all, little adapted to the wants, tastes, and habits of our people. Let these wants be supplied by articles, at once more useful and equally ornamental, of home production. Let them learn to use their own strength, and their reward will follow.

The manufacturers of Europe are drawing closer and closer the connexion between the artist and the workman. At first, they borrowed aid 5 now they are acquiring knowledge for themselves. For the promotion of this object, schools have been long established on the continent, under government protection and support 5 so much importance is attached to their existence, as a measure of national policy. The infiuence of these schools was so strongly felt in England, to the detriment of English industrial art, that it became a subject of alarm to her statesmen. All the capital, energy, and strength, the superiority in material and mechanical facilities of England, could not contend against the higher excellence of her foreign rivals. As the voice of one man, her mechanics and manufacturers confessed the truth, and demanded

INTRODUCTION.

protection trom the government — not by taritis, but by education. Her legislators saw the evil, and at once applied the remedy, by the establishment of Government Schools of Design. These have been attended with such beneficial results, that there is now scarcely a manufacturing town m England that has not claimed, and shared, the advantages of provincial branches. Our mechanics can, and must, do for themselves what our own state and general governments have, hitherto, shown such indifference in undertaking for them. To no other cause than ignorance can this mdifierence be attributed. Were the rulers of our land, themselves, properly educated, they would not only feel the necessity of teaching Drawing in our pubhc schools, but would be capable advisers and promoters of efficient means of carrying it into effect. He who writes himself, and has been endorsed, ‘‘ Master of Arts,” by our colleges, should at Icitst know something about them j whereas, in most cases, the arts are subjects on which, above all others, he is utterly ignorant.

While foreign arts and manufactures have inundated our markets, to the detriment of our own enterprising mechanics, and politicians have convulsed the land with schemes, and plans, and measures of protection, all seem to have lost sight of one of the great and primary causes of the evil — the want of artistical education among our workmen. They are taught to read and write, to hammer and to saw 5 but to design — the first motive, the very genius of all arts — is utterly neglected. While it is so, we must compete with the old world, especially in the production of articles of taste, on most unfavorable grounds. The spirit of independence, that will one day cover the western continent, seems not, as yet, to have entered our workshops. We are, in this respect, comparatively, still a colony of Europe; borrowing and adapting, but doing nothing for ourselves ; waiting for every novelty to cross the seas, to imitate it — creating wants by reproduction, and burdening society with anti-American tastes and caprices, instead of supplying them with objects no less useful for being beautiful. A few imported pattern-books, of little value, because not adapted to our purposes, constitute the resources in design, of most of our mechanics. Require them to make something to suit a given purpose, that shall be at the same time ornamental, and you ask an impossibility. Even if the workman may have a vague idea in his mind of what is wanted, he can not give it form : perhaps he may have the spirit to make the attempt, but he can not satisfy himself — all goes wrong — his pattern-books fail him *, he looks around for something to begin fi*om, and gives it up in despair ; or, what is worse, produces some deformity that disgusts his employer, who will not venture on a second experiment, but sends abroad, and gets what he desues. Can the mechanic complain that home manufactures are not encouraged ? Had he possessed even an elementary knowledge of

INTRODUCTION.

Design, he would have done better ^ had he cultivated and perfected that elementary knowledge, his difficulties woidd have all vanished, and the beginning and end of his labor would have been placed at once before him. Make them artists, or, better still, artist-workmen, and, with their proverbial energy, intelligence, and enterprise, no limit can be placed to what our mechanics may achieve.

A knowledge of Design, even in copying, gives great advantages. If he understands the principles upon which the original is produced, there is no fear of the workman committing offensive variations. How often do we see the most beautiful designs distorted into deformity by the variation of a single line 5 an error of ignorance that must continually occur, until our mechanics are better instructed in this branch of education. It is a vain hope, that a work so limited as this, win supply aU the information the artisan should require 5 but should it lead him to make a beginning, he will so soon find his advantage in it, that he wiU be induced to pursue it farther. He will have his children and apprentices instructed 5 he will urge the establishment of schools and collections of models, to which they can be directed 5 and he will in his own time see the fruits, in the advancement of our manufactures to a degree of perfection that can never exist, without an intimate connexion between them and the Arts of Design.

There are those, of another class of society, to whom education in Drawing may prove a real blessing j whose painful and ill-repaid labors, to earn a scanty provision for themselves and families, have so often called forth our sympathies 5 and, while public feeling loudly declaims against the evil, no efficient remedy has been applied. Of the thousands of dependent females who are compelled to toil, night as well as day, to the destruction of health and life, and who are often tempted into paths of vice and misery by absolute necessity, how many there are who possess talent that needs but cultivation to secure them both respectability and support. The natural refinement and dehcacy of the female mind renders it a fruitful soil, that should not be neglected or let run to waste, when its cultivation might realize such rich advantages, not only to themselves, but to thencountry. Give them the advantages of education in Drawing j begin in your public schools j let them carry it to their looms, to the manufacture of articles of taste and fancy, to their firesides, to the early education of their children 5 — and more, if they possess the talent, — let them take the pencil, the chisel, or the burin. Give them strength, by proper education, to feel what they can accomplish, and we shall soon see the broken-hearted victims of incessant toil worth the wages of men, in departments of industry and usefulness for which they are by nature so well adapted.

Of all people in the world, we stand most in need of knowledge in the Arts of Design. If in Eiu-ope, sin-rounded as they are by monuments of art, the accumulation of ages, it has been found necessary to make Drawing a part of common education, how much more essential is it here, where there is little or nothing of the sort. We must learn to think, and feel, and do, for ourselves. We must begin and carry out a new system of education in this respect 5 and, once placed in possession of a beginning, the energy and independent character of our people, so evident in everything else, will be made available to the cultivation of national taste in art, and the just appreciation of the sublime and beautiful. Art, in its higher efforts, will no longer suffer from the pedantry of travelled quackery, but will be elevated in itself, and elevated in its efforts, by the existence of a fair, honest, and intelligent tribunal. The cast-off frippery of European garrets and workshops will no longer find place beside our home productions in the Fine and Industrial Arts. The vast resources of mind and matter with which a bountiful Providence has endowed our land, will be brought forth to add to its national greatness 5 and, although we have no vast cathedrals or regal palaces to fill with pictures and statues, or adorn with works of ornamental art, we have a vast, an independent and intelligent people to appeal to : who need only to be shown the truth, to know and maintain it.

That a general taste for the Fine Arts does exist, however uncultivated it may be, is evident. Where is there the humblest cottage that has not its walls or mantlepiece decorated with a picture or plaster figure ? However rude may be the work of art which hangs as “ the bright Palladium” of the cottage, yet the household care bestowed upon its preservation, and the pleasure it affords by its possession and contemplation, show an appreciation of its worth, a decided taste, that, if cultivated, would lead to better productions 5 for the supply would assuredly be improved in character, in proportion to the demand. A wooden clock sells the readier for its picture, and more especially, if that picture touch a chord of national pride. Washington and 3Iount Vernon, although pictured with a most libellous pencil, have saved many a worthless machine from the rubbish-loft.

What village school-girl is there, whose ambition does not reach to the imitation of natural

objects in needlework? and, although it may often puzzle the most acute to discover a rose from

a tulip, or a cat from a squirrel, in her worsted-picture, yet the taste, the inclination — to try — is

there. Could she be able to select subjects for imitation, from the boundless resources of nature

with which she is surounded — could she have the means and opportunity afforded her, by proper

instruction, of perpetuating, by her pencil or brush, the flow er she has reared, the home she has

INTRODUCTION.

been happy in, the resemblance of friends she has loved, what a new source of intellectual enjoyment would be opened to her. And not to her alone. The influence of that refinement of sentiment and taste, that must ever follow, will extend throughout her fife, and spread a charm about her, which will be seen and felt in all her associations, whatever be her destiny.

The importance of Drawing, as a part of popular education, and the want, so generally expressed, of spme popular work on the subject, by which it could be introduced, not only into schools, but home instruction, has led to the publication of the American Drawing-Book. It is given to the public with the ardent hope that it may, in some degree, awaken an interest in a branch of knowledge that has been, hitherto, strangely neglected among the people of the United States 5 not so much from indifference to its importance, as from the want of efficient means of its acquirement.

Of Teachers, all that can be required, is, to give it a fair experiment.

Of Pupils, is to be asked, a faithful observance of the course of study recommended — not to grow weary, if sometimes they find their patience taxed too heavily. Let them be assured, that nothing more is demanded of them than is believed to be absolutely necessary to their advancement. If, at any time, a doubt should arise in their minds, as to the utility of that which is required of them, let them persevere a little farther, and they will be satisfied. There are few secrets to teach : all must depend upon their own exertions. The business of the Guide is to direct their steps in the right way, and to supply them with such information as they may require in their progress, not to bear them on his shoulders. The correction of their own errors, and the knowledge of the means of their success, will supply the rest. One promise, in conclusion, can be safely made : the gain will well repay the effort. Let them not hesitate, for fear of failure, but be assured, that the measure of their success will be in proportion to their exertions. When once they have passed through the elementary studies of art, they will need no incentive beyond the reward they will receive in its practice — a new world of enjoyment, a new sense to appreciate its worth, will be their recompense, and they will never regret the day of their beginning.

FACILITY of hand is one of the first requisites in drawing, whatever instrument be employed, whether Pencil, Pen, I5rush, or Modelling tool. Many are by nature endowed with a certain mechanical dexterity, or happy readiness with the fingers, to whom this facility is of easy acquirement 5 and all possess it, to a certain degree, or they could not be taught to write, which, in the beginning, is nothing more than the drnitins of certain conventional forms, without any distinct idea of an object beyond the imitation of such forms. The first “ pot-hook and hanger,” is, clearly. Drawing. If the pupil has improved upon this humble beginning, so as to write a fair hand, he already, perhaps unconsciously, possesses an acquirement that will not only make easy his first essays in drawing, but essentially serve nim, however far he may extend its pursuit. Should this useful accomplishment have been neglected, he can not do better than practise his hand in the careful imitation of good specimens of penmanship, or place himself under the instruction of some good writing-master. The use of the pen has been too much overlooked by draughtsmen, especially by amateurs. It produces a certain line, and induces an early habit of care and accuracy, from the fact that it can not be easily erased. Many are falsely captivated by the spirited dash of a master, who overlook the means by which that ease and freedom have been acquired. It is the result of accuracy and labor j and to imitate the end, w e should not shrink from the beginning. Pet us lay well the foundation, before we begin the structure. lie who starts with the black-lead pencil in one hand, and the Indian rubber in the other, will find, however convenient the latter may be, that he will soon fall into a loose and sloveidy habit, of which it will be ditficult to

divest himself. They are both good and serviceable in their places j but too often, in the hands of beginners, most sadly abused.

2. The first object of the beginner should be, to acquire a readiness in observing and forming simple lines, with their relation one to another, their direction, variation, beginning, and termination j also, to make a duplicate of any given line. Take, for example, a sheet of ruled letter or foolscap paper, and begin by tracing over the lines with a pen, from left to right, and from right to left —

Let your line be distinct and clear. Avoid a habit of feeling your way, as it were, by a number of uncertain touches Endeavor, at once, to express what

you desire with firmness and decision

3. The system of these early lessons, to those who find it difficult to attain precision of hand, is of so much importance, that it is strongly recommended, especially for schools j where it should be commenced as soon as a child is taught to hold a pen or slate-pencil. By it the instructor will find his pupils more rapidly acquire a good hand in writing, as well as drawing; the eye, as well as the hand, thus being made progressively familiar with the observation and imitation of lines and forms. The drawing-master comes into our schools at too late a day. Every teacher can and may be one. A child knows its first letter by its form, calls its name, and remembers it, by that knowledge ; and few there are, who can not make their letters on a slate, as soon as they know them in the book ; rudely, it is true, but still in a manner to be understood. And yet this first impulse of nature is too often disregarded ; the child is driven from that which might be to him a source of amusement as well as profit, and made, by the forced discipline of schools, to learn to read before he learns to write. “ One thing at a time,” may be a good adage for old heads, but childhood needs variety in its labors. Its mental exertions should be tempered by agreeable diversion, and, more especially, when that diversion can be made of lasting benefit. We may rely upon it, that the child, who loves his slate better than his book, will soon, by a judicious indulgence, learn to love them both together. The truant and the sullen prisoner to the school-bench would become the willing learner ; and the early habits, thus acquired, of

STRAIGHT LINES.

observation and appreciation of the beauty and wonder of creation, will lead to a healthful thirst for knowledge, the truest and surest incentive to the study of hooks.

4. In view of the importance of this early education in drawing, as well as to assist teachers in carrying out the system proposed, there have been prepared Drawing or Copy-Books, ruled and headed, on each page, with progressive examples, similar to those which will be given in the course of these rudimental instructions. Thus, with little or no additional labor, teachers mav at once, although possessing, themselves, no knowledge of design, be capable of affording the means of instruction to their pupils, as well as supplying their own deficiency, in an important, and too long neglected, branch of popular education. These Copy-Books may be procured of the publisher, at a cost little heyond the price of an ordinary blank book.

5. Having acquired a considerable degree of accuracy in tracing the ruled faint line, as suggested (2), proceed to fix certain points along the line, at random, and then connect them together 5 moving your pen or pencil (the former is to be preferred) slowly and steadily, and not taking it from the paper until the line required is completed —

Repeat this, from right to left, and from left to right, as in the first instance. After some degree of precision is thus obtained, you may, without fixing the points, endeavor to draw the lines, of the length required, by the aid of the eye and hand alone 5 and then, laying aside your ruled paper, see how nearly you can come to the examples given, on plain paper, on the slate or blackboard. Observe well, before you touch your paper, where the line is to begin, what direction it is to take, and where to terminate. When you can achieve this, with ease and accuracv, you have made a sure beginning ; the importance of which will be felt and better appreciated hereafter, when, any amount of time and patience bestowed, in making yourself master of the principles and practice of these primary lessons, will not be regretted.

6. In your next effort, you have no longer to trace the ruled lines, but, to trust your eye and hand in drawing a line, as nearly as possible, in the middle : —

A difficulty will be felt, at first, in drawing continuous lines, of great length; as you will find

PRIMARY INSTRUCTIONS.

your hand liable to get the start of your observation, and stray from its proper direction. They should, therefore, at first, be short. Increase their length, as you gradually acquire facility and precision. When you find your pen going astray, as it is apt to do at first, leave off, and again seeking, by your eye, the true point to start from, make another effort ; and thus, until you can draw a line extending the entire width of the page. Repeat the trial from right to left, as well as from left to right.

7. In this lesson, you have to keep two lines, besides the one you are drawing, under your observation at the same time. Simple as it may appear, it is one of much importance. You are already entering the broad field of Design, and are to consider yourself no longer a servile tracer. Here, let it be urged upon the pupil to avoid, in all cases, the pernicious habit of tracing. It is a tempting, but a dangerous expedient. No one can expect to attain proficiency in off-hand drawing, that relies upon it, even as a last resource. Early learn to trust and depend upon your eye and hand alone. They will serve you well and faithfully, when the clear pane of glass, the transparent paper, and the many other weak resources of weak hands, will fail.

8. In like manner as in former, proceed with the following examples : First, pointing off the divisions or spaces between the faint lines, and then connecting the points carefully ; bestowing as much time and practice on each example as your progress or improvement may render necessary.

9. Observe that, in adjusting the points, marking the divisions of the sjiace between the

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lo ruled lines, it will be easier to fix the centre point first then the quarter and subdivisions j 5 and in like manner, where they do not begin from the centre, divide the space.

first, by two points and then by subdivisions