The Cairo bulletin., 1905-10-29

= self Ordinarily. however, anythin
Of thai sort is Impossible
: = can tell you in an hour every
9 thing ! know about art " once said MI
I William NJ Chase. the painter. 10
, class. But il viii take YOU all you
lives to put IT into practice
So II Il with the student Of sculp
ture Hard work, long years of il
are needed, whatever natural talen
the beginner may have.
The training Of the sculptor is full
of incomprehensible circumstances IA
the ordinary man or woman He is
oniy iust beginning to rason out from
the results OF that he methods must
| be alright
You say It's all a matter of draw.
ing" remarked a perplexed business
man in a sculptors studio The other
day ANA thar my son will have to
/ study drawing TWO or three wears he.
fooe he begins to handle clay at an.
] suppose that means that you fel.
lows have TO make very careful out
line study before yon begin 10 model
oh, no, repl ed the sculptor we
draw right in The clay. See that fellow
there on the model stand-m model
for The figure Pm doing. See the
shadows on him cast by the light over.
head. Wen, il | ger down the shapes
OF these shadows on a piece Of paper |
make what YOU cali a drawing. 1t
viii give the character OF the man
even If ! don't shade, as YOU term it.
The light portions al all But it's |
drawing just the same if instead of [
reproducing the shapes of those shad /
aws on paper or canvas | reprouce
them on a lump Of clay such as is
spread out on framework of lead
wires here. am drawing, you see,
iust as much as if | were doing IL Fl
with a lead pencil or a brush
See that mass Of shadow under the
models forehead There. TIL Just lab
hole with my thumb inro the clay
Intil | eet it Of the same contour ami
me Of The main elements of facial
LIKENESS will have been secured And
hats what counts in this profess on.
nyway lis mostly matter of good
raw ng or bad drawing.
DO you paint in oils or water col.
rs?' is the stock ques ton asked OF d
very painter until he gels az weary d
it as he does OF the remark, why Il
couldn't draw car to save my life. n
:, however he Is wise he replies gent. n
r. I draw in either SO the sculptor e
primarily engaged IN drawing As q
r as his actual professional work il III
'ncerned involving statuary in the "a
'und or in relief. /. matters little IL q
2 does not learn The mechanical parts Il
r several years after he has begun d
study These things are quickly III
armed by the man who has discover Ia
how to draw the human figure so "
at it will stand on its fee, in grace. M
pose. with wellconstructed ankles. Ii
bows and knees Consequently The Il
lser the sculpture student can be :
pt on The general work of drawing
d paint ng from the live model IS
der such painters as Mr.. TarbalI pa
2 Chase Mr.. Benson or Mr. Eakins loi
better for him in all his subse, ret
INT career" cha
Half an hour Of explanation Of this SCI
t left the layman with little clear. tina
understanding Of the reasons WHY OF
considerable part Of the training Of The
prospective sculptor IS carried ON ain
thh draw ng classes. In such n taE
DOL as the one connected with the dltl
'ton Museum Of Fire Arts the mum. enc
OF pupils in the sculpture depart. ihe
NJ proper IS strictly limited. ana ags
~ Is always found a good.sizea
ing list and the instructor Mr.
a l. Pratt sculptor among many
ar works cf the Governor John Wa
iihorp statue recently installed at
London, c. regards this wait.
as involving no hardship Once l.
student has been admitted 10 the Ian
pure classes proper he doe, right the
again in clay what he has ALREADY this
p IN charcoal and paint He re. stan
ln"es the human skull studying due
ne feenirant surfaces. lie models Ii
0 the anatomical casts that show Whe
superficial mu cles Of the figure sam
later makes large size reproduce. dow
from the living model. And al. was
he listens 10 the familiar in Whe
elton Get the shape Of the dark who
S. Find ont accurately where pray
ow and light meet There must m
place somewhere where one ly o.
as off and the other begins. s.. the
that and yon will have made his
first step toward beautiful simpIt bis /
ian Model in the Eight delicate. 10 a
,aep the shadows very simple. from
lst American Art schools for va. foun
reasons nave only small depa-i tn
$ OF sculpture One main consid. ans
on unque-tionably The EXPENSE no &
SIS a great deal 10 maintain class. tbino
modelling. Al one of the New
art schools the average loss from =.
sculpture studios is said 10 have 4
Iged more than a thousand dol
year for many years. and there
al several times been proposals
the SOCIETY," of American Sculn- Z
should end0w The classes. The B -
j al the museum IN Boston Is