Artisan Or Artist?. A History of the Teaching of Art and by Gordon Sutton

By Gordon Sutton

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From which arise that just appreciation of all forms that I call the art of sense-impression (or Anschauung). This is a new art that should precede the usual, oldfashioned, well-known ideas of art-culture . . and will be still further developed in the child by the art of drawing, particularly the art of drawing lines. . This art will become, beyond comparison, easier by the new method. . As soon as the child draws the horizontal line, . . we try to find him, out of the whole chaos, of objects seen and shown, figures whose outline is only the application of the familiar horizontal l i n e .

Blue campanulas, yellow primroses, etc. " Colours are to be represented and named with the greatest accuracy, though "at this stage of development these things will still be done quite imperfectly". In trying to understand colour relationships, colour "becomes more and more abstracted from form", and in order to learn to control colour, it needs representation in "figures derived from the network. The first consideration in these exercises is to paint the surfaces evenly and sharply, progressing from smaller to larger surfaces.

By exercises in lines, angles, and curves, . . a readiness in gaining sense impressions of all things is produced in the children, as well as skill of hand, of which the effect will be to make everything that comes within the sphere of their observation, gradually clear and plain". He "put a double series of figures before the children from the cradle upwards. . With the first he wished to help Nature . . by means of a series of representa­ tions of Nature. With the second he wished to combine the rules of art with the sense impression of art, and to support the consciousness of pure form, and of objects which fit into it, in the minds of the children by means of juxtaposition; and lastly, to secure thereby a gradual psychological progress in art, so that they can use every line that they can draw perfectly, for objects, the complete drawing of which is only a repetition of the measure-form, that is already familiar to them .

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