Part 20

Over the board on which your little figures are standing, you put an empty box or packing case, and you cut a hole in the side of the case, to represent the window. If you find the light on your group too concentrated, you can enlarge the hole, or cut a small aperture on the opposite side, so as to diffuse the light. In lamp or fire-lit subjects, this “maquette” method is most valuable. You admit no daylight into the box, but you place a small lamp or night-light wherever you wish the fire to be, and you have nothing to do but to copy the effect.

You must, of course, bore a small spy-hole at the point of sight.

In my early days in Paris, when _pictures_ were painted, and not single figures for the market, almost every young artist had his little puppet-show, into which he was continually peeping during the progress of his work. Some of the pictures thus painted were badly composed, some were clumsily executed, some were crude in color, but all had a truthful look about them as far as light and shade were concerned.

The real shadows, the reflected light, and the half-tones were all in their right places and of the right value.

When a man has been painting pictures for twenty or thirty years, he knows pretty well what his effect ought to be under certain conditions. He knows when he may venture to copy the effect of light on the model before him, and when he must depart from it, but the beginner has no experience to guide him, and I would strongly recommend him to try the little clay figures. The whole group of say ten figures could be modelled in two days. The legs of those which are to be clothed in flowing drapery need, of course, not be indicated at all, and the roughest approximation to nature in the attitudes is all that is necessary, provided effect _only_ is wanted. Of course, if you wish to study _drapery_ from your small figures, you will have to elaborate them with greater care, and probably have to make them larger than would be convenient for the other purpose.

Another advantage of pursuing this method is that it gives a little practice in modelling, and I think that every figure-painter ought to be able to give expression to his ideas in clay just as well as on canvas. There is no necessity for his learning to work out detail in the clay; he need never model nose, eyes, or mouth, and still less fingers and toes, but he ought to be able to give proportion and action to a small clay figure, just as easily as he would sketch with charcoal on a sheet of paper.

Before I have done with my little clay figures, I think it right to caution you against relying too implicitly on the effects of light and shade of your miniature figures. They are intended to serve as aids, but not as models to be servilely copied. When copied too closely, the shades are generally too black, and there is an absence of half-tones, which gives rather a harsh look to the picture.

An ingenious fellow-student of mine improved on the method by rigging up a light semi-transparent canvas box instead of the wooden one. He cut the usual opening to admit the light, and the canvas sides of the box let in just daylight enough to take away all unnatural blackness from the shadows. It may be asked: Why have a box at all? Why not model the little figures, clothe them, and put them on your studio table? In the first place, the light you require for your picture may be dissimilar to the light of your studio; and, secondly, one of the principal advantages of the box system is that the sides of the box represent the sides of the hall or room of the picture, so that you see at a glance how the shadows of the groups are cast, you see which portions of the figures stand out dark, and which light, against the background. In short, you get a much more complete idea of what you propose painting than you could possibly manage in any other way.

For out-of-door subjects, where the light ought to be generally diffused, this method is altogether inapplicable, but for any prison, catacomb, or cloister scene, it will be found extremely useful.

In a composition of several figures, you will, after arranging your groups, often find large portions of the ground or floor space unoccupied. Don’t be in a hurry to fill up these spaces with unmeaning accessories. They are sometimes most valuable, as giving rest to the eye, and ought often to be preserved. At any rate, they ought never to be filled up promiscuously with objects which do not assist in telling the story.

I remember when I was a student we had a stopgap always ready in the shape of a pot of some sort or other. If Joseph was being sold by his brethren, and there was an awkward corner in the foreground, we would put in a water-pot. The Egyptian merchants who bought him would be sure to carry large pots with them. If Æneas was escaping from Troy with his father on his back, there would certainly be a large amphora in the corner, supposed to be too heavy for him to carry. The captive Jews could not wail by the waters of Babylon without a whole set of pots occupying the nooks and corners of the composition.

Now, an Oriental water-jar or an Etruscan vase may be beautiful objects and nice things to paint, but this is no reason why they should be invariably used as stop-gaps. In a subject like Hagar in the desert, the empty water-bottle is an essential element in the story; or again, in Rebecca at the well, you may paint pots to your heart’s content, but in subjects where they are out of place it is best to refrain if you possibly can. All stop-gaps are very objectionable; and if I mention this particular kind, it is because it is the one usually resorted to. I do not by any means wish to imply that you are to leave a disagreeable vacant corner unoccupied, but whatever you put in it, whether it be some cast-off cloak, fruit, or flowers, dog or cat, or even the irrepressible jar, it ought not to look as if it had been purposely put there to fill up a hole. Doubtless it _would_ be put there with that intention, but the artifice ought not to be readily detected.

My main object to-night has been to impress upon you that in designing figure-subjects you are not to take the first commonplace ideas which may occur to you, but to reason your subject out, and select whatever treatment you think most telling.

By so doing, you are on the only true high-road to originality.

There is a kind of originality, or rather eccentricity, which may be easily enough attained by ignoring the natural laws of action, of light, and of color; but I am speaking of originality united with excellence. This, I am convinced, is seldom (if ever) attained by sitting idle and waiting for some happy thought to turn up. You must use your brains constantly, from the first charcoal sketch down to the finishing-touches on the Exhibition walls.

Before closing this course of lectures, I should wish to disclaim any desire of imposing my individual opinions upon any of you. Like every one who has thought a good deal about painting and painters, I have formed my own ideas, and have, I think, expressed them pretty freely; but it would be quite contrary to my theory of free thought in art that you should accept as proven all the opinions I have expressed. Art (as I have already observed) is not a science. I cannot take up the white chalk and prove to you by _x_ + _y_ that my views are right and all others wrong. What would become of our friends the critics, if this could be done?

But although all assertions on art must be mere expressions of individual opinion, it appears to me that the professor of such a many-sided art as painting is better employed in giving his honest convictions (whether they coincide or not with the prevalent opinion of the day) than in prudently confining himself to dry history or hazy æsthetics.

THE END.

* * * * *

_PUBLICATIONS OF G. P. PUTNAM’S SONS._

=Method of Learning to Draw from Memory.= By MADAME E. CAVE. From 4th Parisian Edition, 12mo, cloth 1 00

⁂ “This is the only method of drawing which really teaches anything. Mme. Cave * * * renders invaluable service to all who have marked out for themselves a career of Art.”--_Extract from a long review in the “Revue des Deux Mondes,” written by_ DELACROIX.

“It is interesting and valuable.”--D. HUNTINGTON, _Pres. Nat. Acad._

“Should be used by every teacher of drawing in America.”--_City Item, Phila._

“We wish that Madame Cave had published this work half a century ago, that we might have been instructed in this enviable accomplishment.”--_Harper’s Mag._

=Method of Teaching Color.= By MADAME CAVE. 12mo, cloth 1 00

⁂ This work was referred by the French Minister of Public Instruction to a commission of ten eminent artists and officials, whose report, written by M. DELACROIX, was unanimously adopted, indorsing and approving the work. The Minister thereupon, by a special decree, authorized the use of it in the French normal schools.

“I cannot too highly commend these volumes. They are a perfect god-send to all students.”--ANNIE J. KIRK, _Chicago_.

=Methode Cave=, _pour apprendre a dessiner_ juste de mémoire d’aprés les principes D’ALBERT DURER et de LEONARDO DA VINCI. Approved by the Minister of Public Instruction, and by Messrs. Delacroix, H. Verbet, etc. In eight series, folio, paper covers. Price $2 25 each. Shaded Models for more advanced students from 75 cents to $3 00 per plate.

N. B.--The Crayons, Paper, and other articles mentioned in the Cave Method may be obtained of any dealer in Artists’ Materials.

=Linear Perspective.= By HENRY HODGE, of the Winchester School. 4to, boards 75

“I find this work excellently suited to my needs.”--A. COLIN, _Scientific Training School, New York_.

=Pottery: How it is Made, Its Shape and Decoration.= By GEORGE WARD NICHOLS. Practical instructions for Painting on Porcelain and all kinds of Pottery, with vitrifiable and common oil color; with a full bibliography of standard works upon the Ceramic Art, and 42 illustrations. 12mo, boards 1 25

“Attractive, practical and suggestive. * * * We commend it most heartily to all who take any interest in the subject of Pottery.”--_Boston Traveller._

=Perspective.= The Theory and Practice of Linear Perspective, applied to Landscapes, Interiors, and the Figure, for the use of Artists, Art-Students, etc. By V. PELLEGRIN, M.S.A., Professor at the Military School of St. Cyr. 12mo, with chart 1 00

“I can say nothing but good of this little book.”--Prof. F. L. VINTON, _School of Mines, Columbia College_.

“Comprehensive, and contains all that the student requires.”--VIRGINIA GRANBERY, _Prof. of Drawing, Packer Institute, Brooklyn_.

“The most practical work on the subject I have seen.”--M. MORSE, _Prof. of Drawing, New York_.

“Thoroughly scientific and thoroughly practical.”--SUSAN V. CARTER, _Prin. School of Design, Cooper Union, New York_.

=Conversations on Art Methods.= By THOMAS COUTURE. Translated from the French, by S. E. STEWART. With an introduction by ROBERT SWAIN GIFFORD. 1 25

“Mr. Couture was not only an artist, but the sharpest literary critic of his day. It is safe to say that no volume of the size contains so much of value for the artist-student as this handsome little volume, so admirably translated by Mr. Stewart.”--_Chicago Inter-Ocean._

“A most readable and entertaining work.”--_Commonwealth._

“Couture talks with charming freedom on all subjects--on the critic, on woman, on the recent school of art, on the great old masters, on the divine art. It is all delightful.”--_Hartford Courant._

“The simple way in which the book is written gives a pleasure to its perusal, which the translation has well succeeded in preserving.”--_Art Interchange._

“The work is thoroughly fascinating, and will be warmly welcomed and eagerly read by all.”--_Boston Transcript._

“The book itself is of rare value. The faithful, spirited translation is in such good English that it might be taken for an original work.”--_Newport Daily News._

“It is amusing to the general reader, and it is of great practical value to the art student. M. Couture’s manner is conversational and familiar, so that when, as he often must, he deals with the technicalities of his subject, he is never dry or obscure.”--_Worcester Spy._

“Very curious and suggestive are Couture’s ideas about the old masters and the modern French painters. The great point in all his book is to impress on artists that they should dare, above all things, to be themselves.”--_New York Times._

“A volume so characteristic, so entirely stamped with the individuality of the writer, that those who know him recognize his peculiar expressions, his eccentricities of manner, and almost seem to see his familiar gestures through its pages. * * * It should be in the hands of every student, and many besides artists will find a charm and a pleasure in reading it. It will take an important place in art literature.”--_Catholic World._

“We heartily recommend the book to all who are seeking to cultivate their artistic perceptions, whether as practical artists or connoisseurs.”--_Christian Union._

“Artists cannot fail to derive many valuable suggestions from this work, even though they do not agree with some of the radical ideas of the author, and to all who are interested in art it will prove of much interest.”--_Boston Post._

“M. Couture has laid bare, in these ‘Conversations,’ the whole theory and practice of painting. The philosophy of the delightful art is made clear, and the application of obvious principles is so precisely defined that the student can be at no loss to comprehend the groundwork of his art.”--_New Orleans Picayune._

“This fascinating little book is thrice welcome. It is important to the practical painter, valuable to the connoisseur and cultivated art-critic, and interesting to the general reader. It is the work of an artist with his pen as well as with his brush; the composition forming a beautiful and artistic poem rendered in the most rhythmical prose. We close this book with regret, it is a rare treat, and we feel assured no one will read it once without turning to it again and again.”--_Robinson’s Epitome of Literature._

WORKS ON ART.

=LEARNING TO DRAW=; OR, THE STORY OF A YOUNG DESIGNER. By VIOLLET LE DUC. Translated by VIRGINIA CHAMPLIN. Octavo, with 130 illustrations. 2 00

A work full of practical suggestions, not only for the student of art or of decorative designing, but for students and teachers in other departments. The author’s theories of the art of teaching are both original and practical.

=ART SUGGESTIONS FROM THE MASTERS.= Selected from the Works of Artists and Writers on Art, with Reference to their Practical Value for Art Students. Compiled by SUSAN N. CARTER, Principal of the Woman’s Art School, Cooper Union. 1 25

=CONVERSATIONS ON ART METHODS.= By THOMAS COUTURE. Translated from the French, by S. E. STEWART. With an Introduction by ROBERT SWAIN GIFFORD. 1 25 /

CONTENTS: Elementary Drawing--Elementary Principles of Drawing from Nature--The First Principles of Painting--The Occupation of a Young Painter first Commencing his Art--Elements of Composition--Introduction to High Art--On Drawing in its most Beautiful Expression--The Portrait--Confession--The Times in which we Live--The Critic--A Review of the Schools for more than Thirty Years--The Golden Medium--Jean Goujon--Monsieur X--Eugene Delacroix--Decamps--On Painting--Titian--The Sketch--On Composition--Simplicity in Composition--Exaltation--Originality--A few Words on Antique Art--On French Art--Prudhon--The Fathers of their Country--My Master Gros--Is Art Superior to Nature?--Divine Art--Adieu.

“This fascinating little book is thrice welcome. It is important to the practical painter, valuable to the connoisseur and cultivated art critic, and interesting to the general reader. It is the work of an artist with his pen as well as with his brush, the composition forming a beautiful and artistic poem rendered in the most rhythmical prose. We close this book with regret; it is a rare treat; and we feel assured no one will read it once without turning to it again and again.”--_Robinson’s Epitome of Literature._

“Very curious and suggestive are Couture’s ideas about the old masters and the modern French painters. The great point in all this book is to impress on artists that they should dare, above all things, to be themselves.”--_New York Times._

“A volume so characteristic, so entirely stamped with the individuality of the writer, that those who know him recognize his peculiar expressions, his eccentricities of manner, and almost seem to see his familiar gestures through its pages. * * * It should be in the hands of every student, and many besides artists will find a charm and a pleasure in reading it. It will take an important place in art literature.”--_Catholic World._

“We heartily recommend the book to all who are seeking to cultivate their artistic perceptions, whether as practical artists or connoisseurs.”--_Christian Union._

* * * * *

PUBLICATIONS OF

G. P. PUTNAM’S SONS.

ART, GENERAL AND TECHNICAL.

=ART HAND-BOOKS (PUTNAM’S SERIES OF).= Edited by SUSAN N. CARTER, Supt. of Woman’s Art School of Cooper Union:

I.--=Sketching from Nature.= By THOMAS ROWBOTHAM. Reprinted from the thirty-eighth English edition. 27 illustrations. 16mo, boards 50

II.--=Landscape Painting in Oil Colors.= By W. WILLIAMS. Reprinted from the thirty-fourth English edition. 16mo, boards 50

III.--=Flower Painting.= By Mrs. WM. DUFFIELD. Reprinted from the twelfth English edition. 12 illustrations. 16mo, boards 50

IV.--=Figure Drawing.= By C. H. WEIGALL 50

V.--=Water-Color Painting.= By AARON PAULEY. Reprinted from the thirty-eighth English edition. 16mo, boards 50

VI.--=An Artistic Treatise on the Human Figure.= By HENRY WARREN. 16mo, boards 50

VII.--=Sketching in Water-Colors.= By HATTON 50

VIII.--=Drawing in Black and White, Charcoal, Crayon, Pencil, and Pen and Ink.= By S. M. CARTER 50

“We can, from personal knowledge, recommend them as excellent hand-books for amateurs.”--_Christian Union._

“The rules and principles they lay down are safe and practical guides to the student.”--_N. E. Journal of Education._

=ART SUGGESTIONS FROM THE MASTERS.= Selected from the works of artists and writers of art, with reference to their practical value for art students. Compiled by SUSAN N. CARTER, Principal of the Woman’s Art School, Cooper Union. 12mo, cloth extra $1 25

“Full of good advice, and of interest and importance to students, artists, and lovers of art.”--_N. Y. Herald._

“A good idea, deserving of success. The volume is made up of artistic and often brilliant selections.”--_Philadelphia Times._

=CAVÉ= (E.) =Method of Learning to Draw from Memory.= From fourth Parisian edition. 12mo, cloth 1 00

“This is the ONLY METHOD OF DRAWING WHICH REALLY TEACHES ANYTHING. Mme. Cavé * * * renders invaluable service to all who have marked out for themselves a career of art.”--_Extract from a long review in the Revue des Deux Mondes, written by_ DELACROIX.

A work full of practical suggestions, not only for the student of art or of decorative designing, but for students and teachers in other departments. The author’s theories of the art of teaching are both original and practical.

“It is a valuable, carefully-prepared work, full of practical hints and suggestions from one who had attained preëminence in his special field of work.”--_Chicago Tribune._

=LUKIN= (JOHN) =The Young Mechanic=; Practical Carpentry. Containing directions for the use of all kinds of tools, and for the construction of steam-engines and mechanical models; including the art of turning in wood and metal. By the author of “The Lathe and its Uses,” etc. Authorized reprint from the English edition, with corrections, etc. Illustrated. Small 4to, cloth extra 1 75

“A valuable book, eminently useful to beginners, and suggestive even to the experienced and skilful.”--_Albany Journal._

---- =Amongst Machines.= “The Boy with an Idea Series.” By the author of “The Young Mechanic.” Embracing descriptions of the various mechanical appliances used in the manufacture of wood, metal, and other substances. Profusely illustrated. 8vo, cloth 1 75

“A book of wondrous fascination, written in a clear, bright, pointed style. A volume to be commended above a dozen stories.”--_Boston Traveller._

---- =The Boy Engineers=; What they did and How they did it. A book for boys. Fully illustrated. 8vo, cloth extra 1 75

“Practical, suggestive, and full of interest.”--_St. Louis Globe-Democrat._

---- =The Amateur Mechanic’s Workship.= A treatise, containing plain and concise directions for the manipulation of wood and metals; including casting, forging, brazing, soldering, and carpentry. By the author of “The Young Mechanic.” Sixth edition. Illustrated. 8vo 3 00

=NICHOLS= (GEO. WARD, author of “Art Education Applied to Industry.”) =Pottery=: How it is Made, its Shape and Decoration. Practical instructions for painting on porcelain and all kinds of pottery with vitrifiable and common oil color; with a full bibliography of standard works upon the ceramic art, and 42 illustrations. 12mo, boards 1 25

“Attractive, practical, and suggestive. * * * We commend it most heartily to all who take any interest in the subject of pottery.”--_Boston Traveller._

=PELLEGRIN= (V., M.S.A., Professor at the Military School of St. Cyr.) =Perspective=. The Theory and Practice of Linear Perspective, applied to Landscapes, Interiors and the Figure, for the use of Artists, Art Students, etc. 12mo, with chart 1 00

“We know of no work on the subject in which so much invaluable material is condensed.”--_Prof._ THOMPSON, _of Rensselaer Institute, Troy, N. Y._

“I can say nothing but good of this little book.”--_Prof._ J. L. VINTON, _School of Mines, Columbia College_.

“Comprehensive, and contains all that the student requires.”--VIRGINIA GRANBERY, _Prof. of Drawing, Packer Institute, Brooklyn_.

“The most practical work on the subject I have seen.”--M. MORSE, _Prof. of Drawing, New York_.

“The idea of the work is excellent.”--S. EDWARD WARREN, _Boston_.

“Thoroughly scientific and thoroughly practical.”--SUSAN N. CARTER, _Prin. School of Design, Cooper Union, New York_.

=RYDBERG= (VIKTOR) =Roman Days=. Translated by ALFRED CORNING CLARK, with Memoir of the author by H. A. W. LINDEHN. Illustrated. 8vo, cloth 2 00

The volume embodies the results of careful historical studies, and gives some legendary matters not heretofore brought forward. The art criticisms are the work of a poet and scholar; the brief historical and topographical sketches, those of a clear-headed philosopher and eager traveller, a quick observer, a man of general and thorough culture. The book is a picturesque mosaic of the many brilliant, sober, gay, comic, dramatic, tragic, poetic, vulgar elements that make up the past history of that wonderful city and the physiognomy it bears to-day.