Elementary art : or, the use of the chalk and lead pencil advocated and explained

Front matter

NH

/ i i i

Pl.

Introduction

Practice to be accompanied by the explanation of first principles, 1.—The faculty of

Elementai observation and comparison to be exercised, 2.—How Nature may be best interpreted by Art, 3. 4,—The usefulness of Art, 5.

—Enrroneous views of many persons on the subject, 6.—Causes of the want of success in the pursuit of Art, 7—‘ Bold” and “ Soft” Styles, 9—Importance of practising with the Chalk or

Pencil, 9.—Progressive Course of Study, 11.

—Importance of commencing the Study of Art on right princip'

Chapter I. General Remarks On The Use Of The Chalk, Or Lead Pencil

The evidence of the mechanical process by which a likeness of Nature is obtained, ought to be as much as possible concealed, 18.—Of Lines, their utility and defects, 14.—Of the application of Lines to indicate character or quality, 15.—Excellence in Art not a gift but an attainment, 16.

Chapter II. On Form

Importance of correct drawing, 17.—Applicability of the Chalk, or Pencil, to the delineation of Forms, 17. —Perfection of Form in each class of objects, 18—Our judgment on the productions of Art influenced by out feelings, as well as by our knowledge, 19.—Of Selection, 19.—To clothe objects

cts, properly, a knowledge of their Forms requisite, 20.—Of the different Forms presented by obj according to their position and the direction in which they are viewed, 21—Disadvantage of commencing too early with Colours, 23.

Chapter III. On The Application Of Chalk, Or Pencil, To The Drawing Of Forms

The effects of the hesitation felt by beginners, 25.—How confidence and precision are to be attained, 25. —Defects of a hard Outline,

—Mode of holding the Pencil, 27.—Of determining the inclination and position of Line .—Of drawing Curvilinear Figures, 28.—The different effects of Outlines of a different kind, 30.—Where Character should be chiefly displayed, 81—Of the amount of

Imitation required, 31.

CHAPTER IY.

ON COPYING, AS PREPARATORY TO THE STUDY OF NATURE.

34.—Difficulties at first attendant on —The habit of merely Copying, without regard to principles,

Of the right intention of Copying, 38.—Drawing from Memory the attempt to draw from Nature, an impediment to progress in Art, 36.—Mode of determining the relative situation of objects, 38.

Chapter V. On Foliage

The importance of Foliage in Landscape, and the apparent difficulty of its truthful imitation, 40,.—The Artist not required to distinguish the leaves of trees with the precision of a Botanist, 41.—‘ Slight” and “ Highly-finished” Drawings, 42.—The idea of Form conveyed not by the dark outline alone, but as it is viewed in connexion with the space which it encloses, 42.—Shade suggestive of the b q vi CONTENTS.

rotundity of objects, and of the presence of Light, 43.—Property of Shade, 48.—The attention attracted by the illuminated parts of objects, 44.—Nature puts on the light, the Artist, using the Chalk, or Pencil, puts on the shade, and leayes the light, 44.—General properties of Shade to be observed in depicting Foliage, 45 Common errors in depicting Foliage pointed out, 46,—Of the Outlines, 46.—Relation between the form of the Leaf and the form of the Masses or Folds of Leaves, 47.—Arrangement of the Groups of Leaves, 48,—Flexibility and Rotundity, 49.—Requisites in the outline of Foliage, 51, 52.—Their exemplification, 54-57.

Chapter VI. On Stems And Branches

General properties of Stems and Branches, 58.—Mode of properly attaching the Branches to the Stem, 59.—Bark, 60.—Rotundity, 61.—Direction of Light, 62.—Mode of growth in Branches, 63. —Difficulty of tracing the Branches, 64.—Semi-transparency of Foliage and Opacity of Stems and Branches, 65.—Diligent practice, guided by knowledge, required to insure success, 65.—Forms of the Stems, Leading Branches, and Folds, 67.— Uselessness of copying the forms of Foliage minutely, 68.—Errors pointed out, 69.—Mode of study to be observed, 69.—Properties of the Beech, 70.—Importance of first acquiring the power to draw some one tree well, 72.

Chapter VII. On Foregrounds

Grass and Herbage, 74.—Evenness and unevenness of Ground, 75.—Mode of representing the blades —Manner of forming Leaves, 75.—Effect and masses of Grass, 75.—Spaces between the masses, 75 of various kinds of plants in Landscape, 76.—Similar lines expressive of different qualities, accordingly as they are employed, 76.—Knowledge of the separate parts requisite, 77.

Chapter VIII. On Light And Shade

Solidity indicated by Light and Shade, 79.—Character of Surface as seen through Shade, 80.—Difficulty of detecting the precise outline of objects, 81—Forms rendered more distinct by contrast, 81—

Ideas of roundness and solidity suggested by Light and Shade, 82.—Natural Shade and Accidental Shadow, 82.—Mode of representing Shades and Shadows, 84.

Chapter IX. On The Use Of The Brush

Different effects of the Chalk, or Pencil, and the Brush, 86.—Comparative advantages and disadvantages of each, 86-88.—Mode of attaching the several masses of foliage to each other, 89.—Shade and Local Colour to be kept distinct, 89.—Best mode of operation, 89.—Washes of Colour for Skies and Distances to be carried over the places of darker intervening objects, 91.—Advantages of a knowledge of the true principles of Art, 91.

Appendix

ON THE MATERIALS.

Paper, smooth and rough, 93.—Chalk and Pencils, 94.—Coloured Paper, 95.—Use of the Stump, 96.— Mode of obliterating Chalk or Pencil Marks, 96.—Of fixing Drawings on the Paper, 97.—Of the facilities for Study and Practice afforded by Lithographic Drawings, 97.

ELEMENTARY ART.

INTRODUCTION.

C the following pages are embodied the results of the Author's experience

in imparting a knowledge of Elementary Art, accompanied by graphic examples, such as he has found to be best suited to impress its principles effectually on the mind. Having proved the usefulness of the precepts and the examples in communicating, with facility, both practical and theoretical knowledge, he has been induced to lay them before the Public. The wish, on his own part, to extend assistance, has been seconded by the entreaties of many, who have desired to be directed aright in their views of Art, and in their efforts to acquire skill in its practice, whether as an auxiliary to other pursuits, or for the purpose of cultivating it as a profession.

The invaluable Art of Lithog aphy, by affording the greatest facilities for the publication of Books of Lessons, and Studies of all kinds, and for placing in the hands of the Public, at a very moderate cost, Original Drawings by accomplished Artists, has contributed not only to the more general dis productions of Pictorial Art, but also to increase the desire to become acquainted with its principles and practice. Such examples, however, are of comparatively small value as subjects of imitation merely, unless at the same time the Student receive instruction in the principles of Art, as well as in the manipulation of the materials.

To render such examples really profitable to the young in Art, for whom they are intended, some explanation of its first principles is necessary, in order that they may know what they are about; for without this knowledge they will never advance in Art beyond the rank of mere copyists of other people’s works : ° however acute their sight may be, or ready their hand at fac-simile imitation,

B semination of the they will never be able, of themselves, to select and truthfully depict the beauties of Nature. After having copied any of those examples, they require something more than to be told that what they have done is either too large or too small, too wide or too narrow, too light or too dark,—all such mistakes might be self-evident, requiring no master to point them out; such information acquaints the pupil with what he probably very well knew, but affords him no real instruction in the principles of Art.

Some explanation is required of the various methods employed to characterise the various objects: whether certain modes of depicting their forms and qualities be in accordance with the principles of Nature as applied to the practice of Art; and whether an attractive result may have been a fortunate accident, or may have been intentionally worked out by the Artist. Something is required which shall exercise and cultivate the faculties of observation, comparison, and reflection, so that whilst the mind is thus acquiring more distinct ideas of forms and their relations, it may be prepared to perceive and appreciate the higher beauties with which Nature has surrounded us on all sides, and at the same time be rendered capable of more readily acquiring distinct ideas on other subjects.

It is not to those only who intend to study Art as a profession that I desire to addr myself, but to those also who take it up as a pleasurable pursuit. There are many who regard it as of easy attainment; and if they discover in themselves an aptitude for imitation, at once decide on becoming either professional artists, or amateurs, concluding, though most erroneously, that they are in possession of an intuitive talent which will enable them to attain in “ Six

Easy Lessons,” a thorough mastery over Art. Others, highly susceptible of its beauties, but unable to trace, in the works of the painter, effects to their causes, believe it to be a mystery, and that its charms are attributable to the power of innate genius, without which every attempt must be futile.

The chief object which the Author has ever kept in view in this undertaking, is to remove those erroneous and too generally prevalent notions, and to cultivate a just taste for a useful and intellectual pursuit. The difficulties which present, themselves at the commencement, are such as are common to every other important pursuit; and are surmounted in proportion as a knowledge of correct principles is attained, and as intelligence becomes operative in guiding the hand.

INTRODUCTION.

oo ellence is to be obtained, not in the practice of the style, or, more correctly speaking, the manner of any model, but from a knowledge of the principles of Ayt and the truths of Nature, which alone should suggest the adoption of every style or manner. Unless the study of Art be based on such truths, its practice can only end in disappointment.

Art is the graphic interpretation of Nature ; and every painter either expresses his ideas of her in his own idiomatic pictorial language; or, guided by his knowledge, and his own peculiar views, embodies, in his own style, the excellencies of another. Every student in Art must not only be furnished, in the first instance, with ideas, but with some graphic means of expressing them ; and as the first difficulty to be overcome in Art is the attainment of signs for the expression of ideas, it is to this that the attention of the student will be chiefly directed throughout this volume.

Every original painter relies chiefly on himself for the characters, or graphic language, which he employs in his interpretation of Nature. He diligently studies her beauties, and investigates the various modes adopted by his predecessors and contemporaries in their imitations of her originals, deriying from each such aid as may be most subservient to his own views ; and thus making their thoughts and practice conducive to the eventual attainment of a method both true and original. The amateur is differently placed; Art, with him, is but a secondary consideration, a part only of his education. Exempted from the necessity of becoming conspicuous for high and peculiar attainments, he is enabled to save himself much time, by at once adopting the ideas of others, without studying for himself their natural prototypes. He should be careful, however, to assure himself that the productions of Art which he selects for imitation have been wrought from a knowledge of Nature ; for on his ability to make a right selection depends the profitable employment of his time.

Like language, Art also has its rules; and it is within its province not only to express some ideas more powerfully than written language, but also to distinctly represent others that are wholly inexpressible by its more arbitrary signs.

Those who would aspire to portray the creations of a vivid fancy, or to depict Nature, faithfully and forcibly in all her charming and endless variety, must consent to adopt such means as are employed in the acquisition of written language itself. None ever indulge a hope of learning a language unknown co} (=) te (=) fo} fo) c=)

to them by merely tracing its characters, or transcribing a few passages from books written in it ; none would be so unreasonable as to suppose that they could attain any degree of literary excellence by imitating the peculiar hand-writing of some celebrated author. Why, then, should any one expect to attain excellence in Art by the mere mimicking of its characters, as employed by any particular master? The belief, however, is all but universal, that mechanical copying is the ready road to such excellence ; and years of the most precious portion of life are but too frequently wasted in mind-less imitations of other people’s modes of representing Nature. ‘Those who copy, however accurately, may continue to do so through a long life with unabated zeal, and yet never be able to express nal idea.

by means of Art one orig

If the study of Art be commenced on right principles, and steadily pursued, skill in its practice may be attained by all in proportion to their general aptitude for other intellectual pursuits. Art, if properly viewed, should be esteemed an indispensable part of a liberal education ; for who is there amongst the many young men daily leaving our public schools and universities, with leisure and fortune at their command, that would not feel it to be an acquisition? It has, indeed, been called a new sense, from the gratification it affords, and the power it gives of fixing scenes, persons, and events, to which the memory can refer. Who is there to whom in future life such a pursuit would not be delightful, if not eminently useful? It would afford a delightful retrospect to the nobleman and gentleman who have sought foreign climes in order to extend their knowledge of the world, but whose recollections of scenes and places they have visited, perhaps for the first and last time, are every day becoming more and more indistinct. What a source of pleasurable interest to themselves, to be enabled, with the pencil, to recall them, both to the mind and the eye, with truth, freshness, and reality! The world has been greatly benefited by the valuable information derived from Pictorial Art. Without fatigue, all the ends of the earth, its inhabitants, its forms and features, organic and inorganic, are rendered familiar to us. It brin home to our hearths the reliques and vestiges of former ages ; it records what “'Time’s effacing fingers” are daily obliterating ; it enlarges on all sides our field of mental yision, and becomes daily a more indispensable coadjutor to the extension of knowledge.

However desirable in other instances, skill in Art is highly important in the profession of Surgery; for it is an undeniable fact, that the Medical man may, within the compass of an ordinary volume, procure for himself more valuable and varied materials to refresh his memory, and apply to daily-recurring cases, than he would be able either to gather or to retain in the shape of preparations; and this, too, without hazard or cost of time and trouble: and many distinguished pracdifficulty, and at a le titioners have most successfully availed themselves of Art, as a means of imparting information which could not otherwise be conveyed. To how many of our Soldiers and Sailors are we not indebted for our knowledge by graphic representation of the scenes in which they have travelled and fought? The Lawyer who can draw, has thus an additional language to assist him in eliciting or affording explanations where every other language fails. To the Engineer and Mechanician, it is absolutely necessary :—in short, there are few conditions of life in which it would fail to prove a most useful auxiliary, applicable to many purposes not contemplated until its powers are tested. As an accomplishment, it is no small part of its recommendation that it has often proved a most valuable resource in the vicissitudes of fortune.

Seeing the general usefulness of Art, it seems truly astonishing that, as a branch of education, it should be so much neglected. This neglect appears the more striking, when it is considered that, under proper instruction, all might acquire sufficient knowledge for every practical purpose. The youthful and the least informed mind may be initiated into a knowledge of the principles of Art without more consideration of innate predisposition than is looked for in regard to other studies. Does any parent ask, What degree of genius in youth is necessary to the acquirement of Latin and Greek, or of any other language? or for a natural inclination sufficiently marked towards any other branch of a general education ? All who are required to receive what is termed a good or liberal education, are, without much reference to native talent, placed in circumstances favourable for its attainment. Yet, with reference to Art, it is

* If the Student derives much of his most valuable knowledge, during his attendance at the Lecture-Room and the Hospital, from a progressive series of Anatomical Plates, how much more would s, form an delineations, founded upon his own experience, in after life, with observations on the c s, applicable to new accidents and presentations, and always at hand invaluable storehouse of surgical fac to assist the uncertainty of memo:

the reverse of all this: every parent first desires to discover in his children some demonstrations of natural inclination for it; and not until satisfied on this head

; and then only as an experiment does he venture to place them under instructor: to ascertain if his conjectures concerning their talents be correct. Not unfrequently, from his own ignorance of any benefits derivable from Art, he is led to look upon it merely as busy idlene a pastime, occasionally filling up a few vacant hours; or, at best, merely affording—more especially from the hand of a daughter—some trifling ornaments for the drawing-room, whose appearance is not generally improved by such family decorations. These are the successors of the ancient family of samplers, and of the yet more ridiculous pretensions to pictures, wherein the Gentle Shepherdess, Charlotte at the Tomb of Werter, or some equally touching incident, was most elaborately set forth in gaudy silks and worsteds. Such tawdry inanities, in by-gone days, passed for taste, and occupied the place of that which now, in its turn, should be removed for what is better and more intellectual. From the boy is expected some glaring and ample display, and he is encouraged to attempt something great; which, when completed, by the finishing touches of an abler hand,—concealing the young artist’s want of power, or correcting his mistakes,—is viewed by indulgent friends and relatives as an indisputable mark of his genius. The youths themselves, uneratified by the applause which they know to be undeserved, are happy for the time in gaining the box of colours (or paints, as they call them), with all the enticing paraphernalia so adapted to the waste for which their prolific ingenuity never fails to find ample scope. When older, they learn too late how little real knowledge they have acquired; and, disappointed with a practice in which much of their time has been irksomely, because fruitlessly, spent, they attach no real value to Art, but rather look on it with disdain.

Those who do not apply for instruction in Art until after their education in other respects has been completed, have, at this advanced period, to contend against many disadvantages. Their time is then no longer at their own disposal, on account of their being immersed in pursuits of profit or pleasure; and their matured minds enable them to comprehend the theory of Art so readily and so fully, that they have, in consequence, too little patience to apply it, and to overcome the mechanical difficulties nece avily attached to the practice.

Disinclined to submit to the labour requisite to overcome the preliminary

INTRODUCTION.

a difficulties, and hoping to find some “ easy style,” they wander from one Artist to another, till, wearied with the fruitless search, and disappointed in their hopes of quickly attaining excellence, they abandon the pursuit of Art, — ending, as they began, in error; for they ascribe their want of success to their want of genius,—whereas the true cause was their neglect of employing means within their power. Generally speaking, it is better not to enter upon the study of Art too early ;

for, as it is an appeal to the mind, and not, as commonly supposed, to the eye only, and requires reflection, dis rimination, and judgment in the proper application of its means, it may be taken up with the best prospect of success by those who are sufficiently advanced to possess such qualifications.

These observations, though true as regards Amateurs, do not equally apply to those who would devote themselves to Art as a Profession ; for as their business is to excel, and, if possible, to carry the pursuit beyond their predecessors (an arduous and difficult task), or to strike out some new objects for attainment, ¢hey should never take it up unless naturally predisposed to do so ; but when once determined, they should devote themselves heart and soul to the undertaking the moment that circumstances will permit.

Success in the Artist or Amateur depends on the general powers of the mind, and on these being rightly directed. The method here presented, is intended to assist the Master to explain his Art in such a manner, that his time and talent may not be thrown away, nor the Pupil labour in vain. That this is too frequently the case, numbers of those who both give and receive Lessons can amply testify. And why is this? Because the Artist is called upon to explain how he paints his Pictures, or, in other words, to teach his “ style ;” for those who apply to him, but too frequently seek only to know the particular colours he uses, and how he compounds, and spreads them over a given surface. From want of the necessary previous information in his Pupil, he, indeed, can rarely attempt more: prepared for the opposition to his assurances that the Pupil is beginning at the wrong end, and, knowing or fearing that his endeavours to impart really valuable, because rudimental, instruction, would be unavailing, he yields, and makes a semblance of teaching an ambitious aspirant to write the language of Art, before he has mastered its alphabet. Let us watch the Lesson, and examine its results. AIl are struck by the readiness with which the Painter

INTRODUCTION. produces a pleasing effect in his Picture—it has been the business perhaps of a few hours; the Pupil has learned what colours are used—the qualities belonging to them—how, if wrong, ir mixture—and how applied; knows the peculiar they are to be removed ; he has seen the mechanism of the work—but nothing more. All the complexity of thought necessary to its production must be annot stop to explain the various reasons gomg on at the same time, but the Painter c which influence his operations, still less to describe the elementary and progressive steps by which he at length acquired his enviable power.

than follow the mechanical progress of the work with his eye,

Unhappily, his Pupil can do no more without being able to follow the Artist in his mind. Thus he witnesses the completion of Picture after Picture, and, if he gains any information, it is of such a kind as he can rarely or never apply for himself. As yet, he has not learned the “knack” he sought; and, after a like trial of another and another Master, he at length discovers that he has indeed begun at the wrong end. He has not taken into consideration the years of previous study ;—the thousand failures that preceded success ;—the stores derived from the study of Nature and Art ;— the materials collected ;—the experience; though all these have been silently and invisibly operating, and the result is now seen concentrated in the Drawing or Picture before him. The ease, the freedom, the decision, at once surprise and delight ; but the labour of years, not of hours, has been witnessed. Does the Pupil believe it possible that so much knowledge can be made available to him by the practice of a few hours ?—knowledge, to gather and develope which, the Artist has brought into action all his enthusiasm and the most unwearying industry. It is enough, by way of answer, to recall the well-known anecdote of Sir Joshua Reynolds, who, when one of his sitters paid for his picture, and observed it was for three hours’ work, replied, “ No, Sir, it is for the work of thirty years.” How different is the plan pursued in regard to other Teachers, when imparting instruction in the various other branches of a liberal education! They are permitted to begin with the elements of the knowledge required. The Musician begins by teaching the value of the notes, their names, &c. The Linguist, from the alphabet, proceeds through the orthography of the words, their sounds and. meaning, and from their grammatical agreement to the finished sentence. The Artist, however, strange to say, is almost invariably required to begin with the end, and to deceive his Pupil by pretending to impart in a few hours that which he has devoted a life to acquire. I lay particular stress on these mistakes, as they are the real impediments to a more general diffusion of a sound knowledge of Art.

There are other errors equally fatal to the acquisition of Art. Some persons, whose ambition does not tempt them beyond the use of the Chalk or Pencil, choose their models according to their natural dispositions, selecting such as are “bold” or “soft.” Indeed, all works of Art are distinguished by them under one or other of these appellations, and are estimated accordingly. By such misbestowed admiration, they unfortunately betray their own want of knowledge ; for surely nothing can be more absurd than the delight too commonly expressed at seeing Rocks and Trees, Stocks and Stones, “so attractively soft,”

a quality at variance with their very nature. There are also many who appreciate the merits of an Artist by the amount of labour visible in his works; and who dwell with admiration on the numberless times it has been necessary for him to retouch a Picture. In other pursuits, such tests rather make the want of ability the more apparent. The admiration bestowed on others for their “ boldness and dash” (the usual expressions) is equally mistaken, where the boldness consists in the reckless freedom with which every principle of Art and Nature is violated; where every particle of resemblance is unheeded, nay, almost avoided, for the sake of exhibiting an appearance of power, when, in reality, ignorance is rendered the more apparent from the assumed disguise. For examples of the bold style (and bold it truly is so to outrage Nature), and of the highly finished or soft style, see Plates 14 and 15. The general errors relative to instruction in Art, and in the selection of “bold” or “soft” examples as models, are my apologies for noticing them.

These prevalent, and even fashionable, errors, are not only fatal to the development of real talent, but are directly opposed to the acquirement of that knowledge which can alone give to Amateurs the power to appreciate Art, or the ability to practise it with success.

Amateurs and Students will do well to attend to the advice of the Artist who urges them to use the Chalk or Pencil; for both, though simple, are yet effective instruments in the practice of elementary Art: indeed, the true foundation of Art is to be laid in the mastery oyer one or the other. There is no “royal road” for either Artist or Amateur, and there are not two different roads

D respectively adapted to each ; consequently, if in this work the road be shortened, or in any manner smoothened, it is as imperative on the one as on the other to adopt it. Whatever may be their expectations, I can confidently assure them, that, unless they will devote their time to a right pursuit of Art, they can never hope to succeed in any respect, much less to become Painters of Pictures. Can desirable to devote sufficient time to it be denied, that it would be much more acquire sound information, and the power to skilfully use the Chalk or Pencil, and to be alive to all the charms of Nature and Art, rather than to libel and outrage both by unmeaning “boldness” or “ softness ?” This is but too frequently done by those who endeavour to reach at once a degree of excellence, which can only be attained by a long course of unremitted study and constant practice.

It has been the ordinary fate of Art in these days, notwithstanding the advantages which it offers, to be looked upon as little better than a plaything. This arises from a want of perception of the importance of Art, and from an opinion of its not being within the reach of regular instruction. Works of Art are indeed looked upon as the result of some especial gift, with which Artists are endowed by Nature. There can, however, be no greater mistake. Can persons be great in Art, and yet be in all other respects without talent ? Or, do the most | highly gifted in other respects understand Art without the aid of observation and | reflection? Without these they can neither justly appreciate its merits, nor

| derive true pleasure from its beauties; and, in consequence, much of the Book

| of Nature is sealed to them. AII her grand and graceful combinations are lost on those who refuse to study properly the only means which can open their eyes | to behold, and their minds to receive, the varied impressions of her grandeur and beauty. | The study of the Chalk or Pencil, unaided by Colour, the one grand object of most Amateurs, offers little to attract their attention. Without troubling of those simple instruments of Art, they at once despise them as unworthy of