Feeling and the sketch
The chapter featured in this Post tells how, over the centuries, artists changed the way they conceived the function of the sketch. From being a step in the Academic method, by which predetermined elements were organised into a composition, it was used in more open-ended essentially Modernist ways. The chapter also explains what I mean by drawing with the “feel-system” and, in doing so, prepares readers for the crucial role it plays in later chapters. For this reason it is key to the ideas developed in my book.
Chapter 4 – “The sketch and the feel-system”
Feeling-guided sketches by Michelangelo and Matisse.
A foretaste of the illustrations found in Chapter 4 are included below. The first of these is by Michelangelo, a Renaissance artist, and the other by Matisse, a Modernist one. The difference between them reflects both similarities and changes that had taken place in the way artists approached their work.
This Post is the second of two that I will be publishing in time for the July 22 – August 5 1917 session of the Painting School of Montmiral. In this way it will also be ready for my experimental “Life Drawing” week in Norfolk, which is scheduled for later in August. As it is holiday time, I will be taking a break from Posts during August and will not start again until some time after 7th September, which will be my 80th birthday.
Other Posts that publish chapters from “Drawing on Both Sides of the Brain”.
- Chapter 1: Accuracy versus expression
- Chapter 2: Traditional artistic practices
- Chapter 3: Modernist ideas that fed into new teaching methods
- Chapter 5: Negative spaces.
- Chapter 6: Contour drawing
- Chapter 7: Copying Photographs
- Chapter 8: Fast drawing, learning and expression
Other drawing related Posts
- An inspirational 19th century teacher and his widespread influence on Modernism in drawing and painting