Part 11 (2/2)

I want to draw from the nude this summer as much as I possibly can; I am sure that it is the only way to keep oneself up to the standard of draughtsmanshi+p that is so absolutely necessary to any one ishes to becolorified amateur

_C W Furse_

CxxxIII

Alhen you draw make up your mind definitely as to what are the salient characteristics of the object, and express those as personally as you can, notwhether your view is or is not shared by your relatives and friends Now this is not _carte blanche_ to be capricious, nor does it intend to make you seek for novelty; but if you are true to your own vision, as heretofore you have been, you will always be original and personal in your work In stating your opinion on the structural character of ives you so to prune, which is ever so aps which an unincisive vision has caused, and which will invariably make work dull and mediocre and wooden

_C W Furse_

CxxxIV

In japanese painting form and colour are represented without any attempt at relief, but in European ht for

_Hokusai_

CxxxV

It is indeed ridiculous that s as a kind of Uki-ye As I have repeatedly re which is not a faithful copy of nature has neither beauty nor is worthy of the name What I mean to say is this: be the subject what it may, a landscape, a bird, a bullock, a tree, a stone, or an insect, it should be treated in a way so lifelike that it is instinct with life and motion Now this is beyond the possibility of any other art save that of the West Judged fros look very puerile, hardly deserving the name of art Because people have been accustomed to such daub-like productions, whenever they see aof the West, they merely pass it by as a mere curiosity, or dub it a Uki-ye, a norance

_shi+ba Kokan_ (japanese, eighteenth century)

CxxxVI

These accents are to painting whatelse they decide victory or defeat A method is of little account at those moments when the final effect is at hand; one uses any means, even diabolical invocations, and when the need co else serves, the handle of my brush

_Rousseau_

CxxxVII

The noblest relievo in painting is that which is resultant fro and rounding of the bodies; and the noble Venetianis excellent in this quality

Those parts in which there is necessity for salient quality of relief must be expressed with a certain quadrature, a certain varied grace of accent like that which the bony ridge develops in beautiful wrists and ankles, also in some of the tunic-folds that fall behind the arure of the Newlands titian; and again in soraceful wo_ the bosom and waist of the St Catherine

Doubtless there is a choice, or design were vain There ather_ A nant to his disposition Heto do with thistle or thorn, with bras are yet dear to some souls Nor should I understand the taste that would reject the wildness of the thorn and holly, or the child-loving labyrinths of the brarant with gorse

No one requires of the painter that he even attempt to render the multitude and infinitude of Nature; but that he _represent_ it through the chastened elements of his proper instrument, with a perforenial impulse

_Edward Calvert_

CxxxVIII

Modelling is parent of the art of chasing, as of the art of sculpturing