. Theory and practice of teaching art . grTM^N KSJJtvflN FIG. 54.—COMPOSITIONS. CHARCOAL. ON THE CAMPUS, THE VIADUCT,AND THANKSGIVING. 56 Theory and Practice of Teaching Art. FIG. 55.—ORIGINAL DESIGNS IN CLAY. OPPOSITION. LOTUS MOTIF. Modelling All that has been said of drawing from Nature (pp. 51-54)applies equally to modelling from Nature. In an art coursebased upon design, modelling is a means of expressing qualityof contour, planes of relief, and texture. Relief is to Sculpturewhat Dark-and-Light is to Painting. Space-cutting, proportions,rhythm, grouping, relations of shapes to enclosing
. Theory and practice of teaching art . grTM^N KSJJtvflN FIG. 54.—COMPOSITIONS. CHARCOAL. ON THE CAMPUS, THE VIADUCT,AND THANKSGIVING. 56 Theory and Practice of Teaching Art. FIG. 55.—ORIGINAL DESIGNS IN CLAY. OPPOSITION. LOTUS MOTIF. Modelling All that has been said of drawing from Nature (pp. 51-54)applies equally to modelling from Nature. In an art coursebased upon design, modelling is a means of expressing qualityof contour, planes of relief, and texture. Relief is to Sculpturewhat Dark-and-Light is to Painting. Space-cutting, proportions,rhythm, grouping, relations of shapes to enclosing boundary,—these are the fundamental things in sculpture. Gothic sculpturegrew to such perfection because Gothic architecture offeredsuch opportunities to enrich spaces with designs in line andrelief. From incised lines upon a Mound-Builders bowl1 to the 1 See the works of William H. Holmes (U. S. Bureau of Ethnology); also thecollection of Mound Builders Art in the Cincinnati Museum. Theory and Practice of Teaching Art 57 pediment of a Greek temple, the structural harmony of lineand space was the main thing in the mind of the designer,whether he worked in clay or
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Keywords: ., boo, bookcentury1900, bookdecade1910, booksubjectart, bookyear1912
