The life, letters and work of Frederic Leighton . solutely correct in the photograph—so may be the placingon the paper of every turn and twist in a bough or a leaf asregards their outlines ; but compared to a beautiful drawingwe feel the want of mind behind it: no human sense hasrevelled in the intricacies of growth and foreshortening, nohuman eye has traced the exquisite grace and sweep of thecurve and the happy spring of the shoot alive with uprisingsap. Just that accentuation which unwittingly creeps into thehuman touch, denoting that the construction of the form hasbeen perceived and appre
The life, letters and work of Frederic Leighton . solutely correct in the photograph—so may be the placingon the paper of every turn and twist in a bough or a leaf asregards their outlines ; but compared to a beautiful drawingwe feel the want of mind behind it: no human sense hasrevelled in the intricacies of growth and foreshortening, nohuman eye has traced the exquisite grace and sweep of thecurve and the happy spring of the shoot alive with uprisingsap. Just that accentuation which unwittingly creeps into thehuman touch, denoting that the construction of the form hasbeen perceived and appreciated with delight, is lacking. Theline of a pathway rising up on the sweep of an upland, a linewhich is always so fascinatingly suggestive, does not leadyou farther over the hill in a photograph as it does in a littlewoodcut by William Blake. Just that push and movementis wanting in the sense of the line which in a really finedrawing gives it a living quality. Another shortcoming iscaused by the inevitable flattening of tone in a ,>jKi:-
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Keywords: ., bookcentury1900, bookdecade1900, bookidlifelettersw, bookyear1906
