. Theory and practice of teaching art . FIG. 51.—CHARCOAL ILLUSTRATION, SHERE KHAN(KIPLING, THE JUNGLE BOOK).This subject is treated at length in Composition by Arthur W. Dow. Theory and Practice of Teaching Art 53. FIG. 52.—COMPOSITION, THE SILENT STREET/ 54 Theory and Practice of Teaching Art FIG. 53.—TONE-STUDY, NOCTURNE (THE HEIGHTS, NEW YORK CITY). Courses in Art Structure and Principles of Design give thestudent knowledge of and experience in the fundamental ideasof all art-work, together with an appreciation of fine application of art principles in creative work requiresfa
. Theory and practice of teaching art . FIG. 51.—CHARCOAL ILLUSTRATION, SHERE KHAN(KIPLING, THE JUNGLE BOOK).This subject is treated at length in Composition by Arthur W. Dow. Theory and Practice of Teaching Art 53. FIG. 52.—COMPOSITION, THE SILENT STREET/ 54 Theory and Practice of Teaching Art FIG. 53.—TONE-STUDY, NOCTURNE (THE HEIGHTS, NEW YORK CITY). Courses in Art Structure and Principles of Design give thestudent knowledge of and experience in the fundamental ideasof all art-work, together with an appreciation of fine application of art principles in creative work requiresfacility and power in drawing and painting (representation). Casts, still life, and the living model,—the usual studiosubjects,—are the basis for the study of representation. Outdoorlandscape painting and sketching should be practised as much aspossible. Mere nature-imitation is not specially valuable; the aim mustbe to represent forcefully and with character, to see things intheir true proportions and tone values, to express the qualitiesof lines and textures. The course in freehand drawing prepares the teacher for theblackboard demonstration so essential in the presentation ofart lessons in schools.
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Keywords: ., boo, bookcentury1900, bookdecade1910, booksubjectart, bookyear1912
