Daily Kennebec journal. [microfilm reel] (Augusta, Me.) 1870-1975, 1911-03-13
ROBINS VIEWS OF THE PAINT
ERS.
Fine Drawing" Often a Form of jag
elery to Astonish IdIers.

Of draw nag. II uses either thr pen
or tn" n'ncH Formerly he would
dra@ outlines with the pen and put
III l." shadows With tHc pencil, The
sketches rnrdo in this way rrS"ublcd
copies cf bas-relie1s or groups in the
r49na, ThCN Werc Sculptor'S sketches.
PGre y. M0tc recently H. HTS drawn
the outlines with a pencil and tinted
them with a brush.
As was examining several OF thes"
III Robins presence CHANGED to re
mark. How different they are from
tie scrupulouSly precise drawings that
poole haze agreed to- admire 1t
is tue" II, raplicd. that what espc-
ci&IY rloaSnS the ignorant is an UNI
expressive minutenoSs of execution ana
a sham nobility Of action. The Vul
gar sec nothing in q daring resume
that passes swiftly over the useless
details 50 as To grasp only the truth
ut the ensemble. They care nothing
Ter tire sincere observation that scorns
te"atrir poses and Is interested only in
the perfectly simple but far more
thriltine attitudes of real life.
The whole subject of drawing is
besc, with errors difficult to correct.
People imagine that drawing can hc
beautiful in itself. They admire III"
artis:S Nho select powerful subjects
and introduce magnificent figures de-
void Of meaning and give their char
actors prctcntious attitudes. People
rave over poses that are never to be
sean in Nature and call them artis-
t5c nccauSC they suggest the sWaSSer
II Italian models soliciting employ
mcnt. This sort of thing is ordinarily
spoken of as tine drawing 1t is IN
r. aiity sall>' It form al jHgglery t.
astonish idlcrS.
1T is the same way With drawing in
ART IS with style in literature. y man
n,red stvIr. straining To compel notice.
i. Lad. r." only good style is tie
stvlc that cffaces itself 50 as To con-
c.ntrate tie readers entire attention
upon the subject treated and tie mo-
ton rendered. The ARTIST WHO pa
RAIDS his drawing and the writer who
invites praise for his style resemble
soldiers who strut about in uniform but
refHse 10 ga INTO battle. or farmers
VIZ lrfiSu their plaWshares to mike
taenl s.lH" instead Of breaking the
ground with them
"Eaph1crs drawing is admired, and
rightly; but it IS not To he admired
for t. uWn sake: il is not to be adj
mired for its more or less clever bal
anee 81 line. w should low" IT Tor
what il signifies III" thing that gives
il all its merit IS til" sweet Scr"nlts
ii tho soul thar looks out through
Raphacl's eyes and "Nrro sseS ltScii
through Lis hand; il is the Low" that
his kaart seems To shed upon all Ma
turc Artists lacking this tenderness,
VT seeking t. borrow from Raphael
his cadence OF line and the pastures "'
IiS tigl.reS. have produced mere Vapld
imitationS What we ought t. adnN"
in michael Angeles drawing Is MOI
the figures themselves nor the du0a-
cious forrsho rtening nor the learned
anatomy: il is In" curious. thundcr'u5
p"Nor of that Titan. i'u"narr"tiS
iWita:OrS. not possessing ms soul, nave
copied in painting his hutu"SS poses
and his tens" muscles ana mao5
themselves ridiculous. WHAT We
SnoTld admire in Tltlan c"i"rihS l.
not its moro ar less agrecahle harmony
- 10 I.,y