The Crown of Wild Olive - John Ruskin (ereader with android .TXT) 📗
- Author: John Ruskin
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But farther observe, that this scrawled, or economic, or impetuous execution is never affectedly impetuous. If a great man is not in a hurry, he never pretends to be; if he has no eagerness in his heart, he puts none into his hand; if he thinks his effect would be better got with two lines, he never, to show his dexterity, tries to do it with one. Be assured, therefore (and this is a matter of great importance), that you will never produce a great drawing by imitating the execution of a great master. Acquire his knowledge and share his feelings, and the easy execution will fall from your hand as it did from his; but if you merely scrawl because he scrawled, or blot because he blotted, you will not only never advance in power, but every able draughtsman, and every judge whose opinion is worth having, will know you for a cheat, and despise you accordingly.
Again, observe respecting the use of outline:
All merely outlined drawings are bad, for the simple reason, that an artist of any power can always do more, and tell more, by quitting his outlines occasionally, and scratching in a few lines for shade, than he can by restricting himself to outline only. Hence the fact of his so restricting himself, whatever may be the occasion, shows him to be a bad draughtsman, and not to know how to apply his power economically. This hard law, however, bears only on drawings meant to remain in the state in which you see them; not on those which were meant to be proceeded with, or for some mechanical use. It is sometimes necessary to draw pure outlines, as an incipient arrangement of a composition, to be filled up afterwards with colour, or to be pricked through and used as patterns or tracings; but if, with no such ultimate object, making the drawing wholly for its own sake, and meaning it to remain in the state he leaves it, an artist restricts himself to outline, he is a bad draughtsman, and his work is bad. There is no exception to this law. A good artist habitually sees masses, not edges, and can in every case make his drawing more expressive (with any given quantity of work) by rapid shade than by contours; so that all good work whatever is more or less touched with shade, and more or less interrupted as outline.
Hence, the published works of Retsch, and all the English imitations of them, and all outline engravings from pictures, are bad work, and only serve to corrupt the public taste, and of such outlines, the worst are those which are darkened in some part of their course by way of expressing the dark side, as Flaxman's from Dante, and such others; because an outline can only be true so long as it accurately represents the form of the given object with one of its edges. Thus, the outline a and the outline b, Fig. 12., are both true outlines of a ball; because, however thick the line may be, whether we take the interior or exterior edge of it, that edge of it always draws a true circle. But c is a false outline of a ball, because either the inner or outer edge of the black line must be an untrue circle, else the line could not be thicker in one place than another. Hence all "force," as it is called, is gained by falsification of the contours; so that no artist whose eye is true and fine could endure to look at it. It does indeed often happen that a painter, sketching rapidly, and trying again and again for some line which he cannot quite strike, blackens or loads the first line by setting others beside and across it; and then a careless observer supposes it has been thickened on purpose; or, sometimes also, at a place where shade is afterwards to enclose the form, the painter will strike a broad dash of this shade beside his outline at once, looking as if he meant to thicken the outline; whereas this broad line is only the first instalment of the future shadow, and the outline is really drawn with its inner edge. And thus, far from good draughtsmen darkening the lines which turn away from the light, the tendency with them is rather to darken them towards the light, for it is there in general that shade will ultimately enclose them. The best example of this treatment that I know is Raphael's sketch, in the Louvre, of the head of the angel pursuing Heliodorus, the one that shows part of the left eye; where the dark strong lines which terminate the nose and forehead towards the light are opposed to tender and light ones behind the ear, and in other places towards the shade. You will see in Fig. 11. the same principle variously exemplified; the principal dark lines, in the head and drapery of the arms, being on the side turned to the light.
All these refinements and ultimate principles, however, do not affect your drawing for the present. You must try to make your outlines as equal as possible; and employ pure outline only for the two following purposes: either (1.) to steady your hand, as in Exercise II., for if you cannot draw the line itself, you will never be able to terminate your shadow in the precise shape required, when the line is absent; or (2.) to give you shorthand memoranda of forms, when you are pressed for time. Thus the forms of distant trees in groups are defined, for the most part, by the light edge of the rounded mass of the nearer one being shown against the darker part of the rounded mass of a more distant one; and to draw this properly, nearly as much work is required to round each tree as to round the stone in Fig. 5. Of course you cannot often get time to do this; but if you mark the terminal line of each tree as is done by Durer in Fig. 13., you will get a most useful memorandum of their arrangement, and a very interesting drawing. Only observe in doing this, you must not, because the procedure is a quick one, hurry that procedure itself. You will find, on copying that bit of Durer, that every one of his lines is firm, deliberate, and accurately descriptive as far as it goes. It means a bush of such a size and such a shape, definitely observed and set down; it contains a true "signalement" of every nut-tree, and apple-tree, and higher bit of hedge, all round that village. If you have not time to draw thus carefully, do not draw at all—you are merely wasting your work and spoiling your taste. When you have had four or five years' practice you may be able to make useful memoranda at a rapid rate, but not yet; except sometimes of light and shade, in a way of which I will tell you presently. And this use of outline, note farther, is wholly confined to objects which have edges or limits. You can outline line a tree or a stone, when it rises against another tree or stone; but you cannot outline folds in drapery, or waves in water; if these are to be expressed at all it must be by some sort of shade, and therefore the rule that no good drawing can consist throughout of pure outline remains absolute. You see, in that woodcut of Durer's, his reason for even limiting himself so much to outline as he has, in those distant woods and plains, is that he may leave them in bright light, to be thrown out still more by the dark sky and the dark village spire; and the scene becomes real and sunny only by the addition of these shades.
Understanding, then, thus much of the use of outline, we will go back to our question about tree drawing left unanswered at page 60.
We were, you remember, in pursuit of mystery among the leaves. Now, it is quite easy to obtain mystery and disorder, to any extent; but the difficulty is to keep organisation in the midst of mystery. And you will never succeed in doing this unless you lean always to the definite side, and allow yourself rarely to become quite vague, at least through all your early practice. So, after your single groups of leaves, your first step must be to conditions like Figs. 14. and 15., which are careful facsimiles of two portions of a beautiful woodcut of Durer's, the Flight into Egypt. Copy these carefully,—never mind how little at a time, but thoroughly; then trace the Durer, and apply it to your drawing, and do not be content till the one fits the other, else your eye is not true enough to carry you safely through meshes of real leaves. And in the course of doing this, you will find that not a line nor dot of Durer's can be displaced without harm; that all add to the effect, and either express something, or illumine something, or relieve something. If, afterwards, you copy any of the pieces of modern tree drawing, of which so many rich examples are given constantly in our cheap illustrated periodicals (any of the Christmas numbers of last year's Illustrated News or Times are full of them), you will see that, though good and forcible general effect is produced, the lines are thrown in by thousands without special intention, and might just as well go one way as another, so only that there be enough of them to produce all together a well-shaped effect of intricacy: and you will find that a little careless scratching about with your pen will bring you very near the same result without an effort; but that no scratching of pen, nor any fortunate chance, nor anything but downright skill and thought, will imitate so much as one leaf of Durer's. Yet there is considerable intricacy and glittering confusion in the interstices of those vine leaves of his, as well as of the grass.
When you have got familiarised to this firm manner, you may draw from Nature as much as you like in the same way, and when you are tired of the intense care required for this, you may fall into a little more easy massing of the leaves, as in Fig. 10. p. 66. This is facsimiled from an engraving after Titian, but an engraving not quite first-rate in manner, the leaves being a little too formal; still, it is a good enough model for your times of rest; and when you cannot carry the thing even so far as this, you may sketch the forms of the masses, as in Fig. 16.,[219] taking care always to have thorough command over your hand; that is, not to let the mass take a free shape because your hand ran glibly over the paper, but because in nature it has actually a free and noble shape, and you have faithfully followed the same.
And now that we have come to questions of noble shape, as well as true shape, and that we are going to draw from nature at
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