Meissonier, his life and his art . ^Ik A HUSSAK. (From an original etching.) 2-4 MEISSONIER Engravers, in particular, should copy drawings like the Psyclic inthe Louvre over and over again, till they can do them by heart. Thenthey might arrive at an understanding of what all the masters haveobserved. Look at Paul Potters bull, and note the unctuous turn ofthe brush in the painting of its coat. Line must be wedded to form,to the folds of garments, the lie of the muscles, to everything, in are too apt to work on at random, without consideringthe of surfaces. % Engravers s
Meissonier, his life and his art . ^Ik A HUSSAK. (From an original etching.) 2-4 MEISSONIER Engravers, in particular, should copy drawings like the Psyclic inthe Louvre over and over again, till they can do them by heart. Thenthey might arrive at an understanding of what all the masters haveobserved. Look at Paul Potters bull, and note the unctuous turn ofthe brush in the painting of its coat. Line must be wedded to form,to the folds of garments, the lie of the muscles, to everything, in are too apt to work on at random, without consideringthe of surfaces. % Engravers should be told, Go and learn to draw at the the Masters ! See that your hatchings follow the folds, the. .^ IN A SlOK;,l. (Sepia drawing.) muscles, the movements, that they never contradict the sense of theform. It will be a hajjpy day for me when my engraver begins to thinkof draining more than of values. Engravers often give the outlinescorrectly enough, but they miss the various depths of shading. And >. ^ k -5 ?S^^
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Keywords: ., bo, bookcentury1800, bookdecade1890, bookidmeissonierhislif00meis
