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Now the facts of life are conveyed by our senses to the consciousness within us, and stimulate the world of thought and feeling that constitutes our real life. Thought and feeling are very intimately connected, few of our mental perceptions, particularly when they first dawn upon us, being unaccompanied by some feeling. But there is this general division to be made, on one extreme of which is what we call pure intellect, and on the other pure feeling or emotion.

The arts, I take it, are a means of giving expression to the emotional side of this mental activity, intimately related as it often is to the more purely intellectual side. The more sensual side of this feeling is perhaps its lowest, while the feelings associated with the intelligence, the little sensitivenesses of perception that escape pure intellect, are possibly its noblest experiences.

It seeks to create a point of view outside the human standpoint, one more stable and accurate, unaffected by the ever-changing current of human life.

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It therefore invents mechanical instruments to do the measuring of our sense perceptions, as their records are more accurate than human observation unaided. But while in science observation is made much more effective by the use of mechanical instruments in registering facts, the facts with which art deals, being those of feeling, can only be recorded by the feeling instrument—man, and are entirely missed by any mechanically devised substitutes. The artistic intelligence is not interested in things from this standpoint of mechanical accuracy, but in the effect of observation on the living consciousness—the sentient individual in each of us.

The same fact accurately portrayed by a number of artistic intelligences should be different in each case, whereas the same fact accurately expressed by a number of scientific intelligences should be the same. But besides the feelings connected with a wide range of experience, each art has certain emotions belonging to the particular sense perceptions connected with it.


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That is to say, there are some that only music can convey: those connected with sound; others that only painting, sculpture, or architecture can convey: those connected with the form and colour that they severally deal with. This inner sense is a very remarkable fact, and will be found to some extent in all, certainly all civilised, races.

And when the art of a remote people like the Chinese and Japanese is understood, our senses of harmony are found to be wonderfully in agreement.

Despite the fact that their art has developed on lines widely different from our own, none the less, when the surprise at its newness has worn off and we begin to understand it, we find it conforms to very much the same sense of harmony. But apart from the feelings connected directly with the means of expression, there appears to be much in common between all the arts in their most profound expression; there seems to be a common centre in our inner life that they all appeal to.

Possibly at this centre are the great primitive emotions common to all men. The religious group, the deep awe and reverence men feel when contemplating the great mystery of the Universe and their own littleness in the face of its vastness—the desire to correspond and develop relationship with the something outside themselves that is felt to be behind and through all things. The artist is capable of being stimulated to artistic expression by all things seen, no matter what; to him nothing comes amiss. Great pictures have been made of beautiful people in beautiful clothes and of squalid people in ugly clothes, of beautiful architectural buildings and the ugly hovels of the poor.

And the same painter who painted the Alps painted the Great Western Railway. The visible world is to the artist, as it were, a wonderful garment, at times revealing to him the Beyond, the Inner Truth there is in all things. And hence it is that the love of truth and the love of beauty can exist together in the work of the artist.

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The search for this inner truth is the search for beauty. People whose vision does not penetrate beyond the narrow limits of the commonplace, and to whom a cabbage is but a vulgar vegetable, are surprised if they see a beautiful picture painted of one, and say that the artist has idealised it, meaning that he has consciously altered its appearance on some idealistic formula; whereas he has probably only honestly given expression to a truer, deeper vision than they had been aware of.

The commonplace is not the true, but only the shallow, view of things. Beautiful things seem to put us in correspondence with a world the harmonies of which are more perfect, and bring a deeper peace than this imperfect life seems capable of yielding of itself. Our moments of peace are, I think, always associated with some form of beauty, of this spark of harmony within corresponding with some infinite source without. In moments of beauty for beauty is, strictly speaking, a state of mind rather than an attribute of certain objects, although certain things have the power of inducing it more than others we seem to get a glimpse of this deeper truth behind the things of sense.


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  8. And who can say but that this sense, dull enough in most of us, is not an echo of a greater harmony existing somewhere the other side of things, that we dimly feel through them, evasive though it is. But we must tread lightly in these rarefied regions and get on to more practical concerns.

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    By finding and emphasising in his work those elements in visual appearances that express these profounder things, the painter is enabled to stimulate the perception of them in others. And these things must be felt by the painter, and his picture painted under the influence of these feelings, if he is instinctively to select those elements of form and colour that convey them. Such deeper feelings are far too intimately associated even with the finer beauties of mere form and colour for the painter to be able to neglect them; no amount of technical knowledge will take the place of feeling, or direct the painter so surely in his selection of what is fine.

    If he paints the mountain faithfully from that point of view, it will suggest all these other associations to those who want them. His interest will be more on the aesthetic side, in the feelings directly concerned with form and colour; or on the side of the mental associations connected with appearances, according to his temperament. But neither position can neglect the other without fatal loss.

    The picture of form and colour will never be able to escape the associations connected with visual things, neither will the picture all for subject be able to get away from its form and colour. And the painter deeply moved with high ideals as to subject matter, who neglects the form and colour through which he is expressing them, will find that his work has failed to be convincing. The immaterial can only be expressed through the material in art, and the painted symbols of the picture must be very perfect if subtle and elusive meanings are to be conveyed.

    If he cannot paint the commonplace aspect of our mountain, how can he expect to paint any expression of the deeper things in it? The fact is, both positions are incomplete. In all good art the matter expressed and the manner of its expression are so intimate as to have become one. The deeper associations connected with the mountain are only matters for art in so far as they affect its appearance and take shape as form and colour in the mind of the artist, informing the whole process of the painting, even to the brush strokes.

    As in a good poem, it is impossible to consider the poetic idea apart from the words that express it: they are fired together at its creation. If his expression is to be adequate to convey his feeling to others, there must be some arrangement.

    Harold Speed

    The expression must be ordered, rhythmic, or whatever word most fitly conveys the idea of those powers, conscious or unconscious, that select and arrange the sensuous material of art, so as to make the most telling impression, by bringing it into relation with our innate sense of harmony. If we can find a rough definition that will include all the arts, it will help us to see in what direction lie those things in painting that make it an art.

    And it is devoutly to be hoped that science will perfect a method of colour photography finally to dispel this illusion. What, then, will serve as a working definition?

    The Practice and Science of Drawing

    There must be something about feeling, the expression of that individuality the secret of which everyone carries in himself; the expression of that ego that perceives and is moved by the phenomena of life around us. And, on the other hand, something about the ordering of its expression.

    This manual was written in , but because of the intelligent combination of useful advice and sensitive reflection on the nature and meaning of artistic practice, it has been considered a valuable resource for artists. Summary by Availle. Play Line Drawing. Mass Drawing.

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    The Academic and Conventional. The Study of Drawing.


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    7. Line Drawing: Practical. This manual was written in , but because of the intelligent combination of useful advice and sensitive reflection on the nature and meaning of artistic practice, it has been considered a valuable resource for artists. Summary by Ava For further information, including links to online text, reader information, RSS feeds, CD cover or other formats if available , please go to the LibriVox catalog page for this recording.

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