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<\/a>Pilgrim at Tinker Creek, by Annie Dillard (1974)<\/p><\/div>\n
“When I was six or seven years old, growing up in Pittsburgh, I used to take a precious penny of my own and hide it for someone else to find. It was a curious compulsion; sadly, I\u2019ve never been seized by it since. For some reason I always \u201chid\u201d the penny along the same stretch of sidewalk up the street. I would cradle it at the roots of a sycamore, say, or in a hole left by a chipped-off piece of sidewalk. Then I would take a piece of chalk, and, starting at either end of the block, draw huge arrows leading up to the penny from both directions. After I learned to write I labeled the arrows: SURPRISE AHEAD or MONEY THIS WAY. I was greatly excited, during all this arrow-drawing, at the thought of the first lucky passer-by who would receive in this way, regardless of merit, a free gift from the universe. But I never lurked about. I would go straight home and not give the matter another thought, until, some months later, I would be gripped again by the impulse to hide another penny.<\/p>\n
“It is still the first week in January, and I\u2019ve got great plans. I\u2019ve been thinking about seeing. There are lots of things to see, unwrapped gifts and free surprises. The world is fairly studded and strewn with pennies cast broadside from a generous hand. But\u2014and this is the point\u2014who gets excited by a mere penny? If you follow one arrow, if you crouch motionless on a bank to watch a tremulous ripple thrill on the water and are rewarded by the sight of a muskrat kid paddling from its den, will you count that sight a chip of copper only, and go your rueful way? It is dire poverty indeed when a man is so malnourished and fatigued that he won\u2019t stoop to pick up a penny. But if you cultivate a healthy poverty and simplicity, so that finding a penny will literally make your day, then, since the world is in fact planted in pennies, you have with your poverty bought a lifetime of days. It is that simple. What you see is what you get.”<\/p>\n
Kimon Nicolaides writes with great passion about the art of drawing, and his approach is about a method of learning that helps you develop your own way of drawing, rather than about imparting his own tips and tricks, as most drawing instruction books seem to try to do.\u00a0 Nicolaides would be the second thing I’d recommend to a beginner in life drawing study, after James McMullan’s excellent introduction to learning the art of drawing in “Line by Line<\/a>“, his recent series of posts on the New York Times website.<\/em><\/p>\n The Natural Way to Draw, by Kimon Nicolaides (1941)<\/p><\/div>\n “YOU SHOULD DRAW, NOT WHAT THE THING LOOKS LIKE, NOT EVEN WHAT IT IS, BUT WHAT IT IS DOING.\u00a0 Feel how the figure lifts or droops – pushes forward here – pulls back there – pushes out here – drops down easily there.\u00a0 Suppose that the model takes the pose of a fighter with fists clenched and jaw thrust forward angrily. Try to draw the actual thrust of the jaw, the clenching of the hand.\u00a0 A drawing of prize fighters should show the push, from foot to fist, behind their blows that makes them hurt. If I had to pick one all time favorite book about the work of the artist, it might be Salvador Dali’s “50 Secrets of Magic Craftsmanship”.\u00a0 This book is, in part, a hilarious parody of such classic handbooks of master techniques as Cennino Cennini’s “Il Libro dell’ Arte<\/a>“, but its suggested techniques, while preposterous and described in overblown language by a supremely conceited madman, manage to convey a great deal of real nitty gritty craft knowledge, along with a sense of the odd mixture of discipline and calculated derangement that drives many of the great artists.<\/em><\/p>\n 50 Secrets of Magic Craftsmanship, by Salvador Dal\u00ed (1948)<\/p><\/div>\n “The apprentice’s Secret Number 22 is that of the drawing of the geodesic lines of his model.\u00a0 Nothing will reveal itself more useful for the understanding of the mysteries of the nude figure than the knowledge to be derived from the assiduous practice of this method.\u00a0 Preferably you must choose a plump model, the curves of whose flesh are as turgescent as possible.\u00a0 The best poses for this are the recumbent ones.\u00a0 You need a provision of strings of back cotton which have been previously soaked in lnseed oil to which venetian turpentine has been added, in a proportion of five to three.\u00a0 these strings should be hung up the day before using them, so that they may drip off the excess oil, but without drying altogether.\u00a0 Once the model is lying down in the pose which you desire you begin cautiously to lay the strings on the model’s body in the places where you wish a clearer indication of the forms.\u00a0 the curve which these strings adopt will naturally be the geodesic lines of the surface which you want made clear.\u00a0 You may then draw your nude, but especially these geodesic lines which, if they are in sufficient quantity, will suffice – even should you efface the nude – to imprint its absent volume.”<\/p>\n Qualia<\/a>, the subjective aspects of experience, have become a major problem in the philosophy of mind.\u00a0 For example, a physicist can tell you that different colors are simply different wavelengths of light, and that theory can be proven by experiment, but a difference of wavelength does not account for the very different impressions made on us by red and blue.\u00a0 Wittgenstein was one of the first philosophers to tackle this subject.\u00a0 This posthumously published book consists mostly of question after question about what we can know and what we should doubt.<\/em><\/p>\n Remarks on Colour, by Ludwig Wittgenstein (1978)<\/p><\/div>\n “‘The colours’ are not things that have definite properties, so that one could straight off look for or imagine colours that we don’t yet know, or imagine someone who knows different ones than we do.\u00a0 It is quite possible that, under certain circumstances, we would say that people know colours that we don’t know, but we are not forced to say this, for there is no indication as to what we should regard as adequate analogies to our colours, in order to be able to say it.\u00a0 This is like the case in which we speak of infra-red ‘light’; there is a good reason for doing it, but we can also call it a misuse.\u00a0 And something similar is true with my concept ‘having pain in someone else’s body’.”<\/p>\n Josef Albers’ “Interaction of Color” is based on his course for artists, a series of experiments that powerfully demonstrate the relativistic nature of color perception.\u00a0 There are many books for artists about understanding color, but none are as illuminating as Albers.<\/em><\/p>\n Interaction of Color, by Josef Albers (1963)<\/p><\/div>\n “Imagine in front of us 3 pots containing water, from left to right: Here are a pair of classic books of art appreciation.\u00a0 John Berger’s writings aim to expand the ways we think about the artwork we see.<\/em><\/p>\n Ways of Seeing, by John Berger (1972)<\/p><\/div>\n “Original paintings are silent and still in a sense that information never is.\u00a0 Even a reproduction hung on a wall is not comparable in this respect for in the original the silence and stillness permeate the actual material, the paint, in which one follows the traces of the painter’s immediate gestures.\u00a0 This has the effect of closing the distance in time between the painting of the picture and one’s own act of looking at it.\u00a0 In this special sense all paintings are contemporary.\u00a0 Hence the immediacy of their testimony. Their historical moment is literally there before our eyes.\u00a0 C\u00e9zanne made a similar observation from the painter’s point of view.\u00a0 ‘A minute in the world’s life passes!\u00a0 To paint it in its reality, and forget everything for that!\u00a0 To become that minute, to be the sensitive plate . . . give the image of what we see, forgetting everything that has appeared before our time . . . ‘\u00a0 What we make of that painted moment when it is before our eyes depends upon what we expect of art, and that in turn depends today upon how we have already experienced the meaning of paintings through reproductions.”<\/p>\n About Looking, by John Berger (1980)<\/p><\/div>\n (On Gr\u00fcnewald’s Altarpiece<\/a>) Finally, recommended for artists’ models, artists that work with models, people that book models for life drawing classes or groups, or students that attend such groups, at this site<\/a>.\u00a0 This book is the real deal about the profession of modeling for artists:<\/a>
\n. . .
\n“To be able to see the gesture, you must be able to feel it in your own body.\u00a0 You should feel that\u00a0 you are doing whatever the model is doing.\u00a0 If the model stoops or reaches, pushes or relaxes, you should feel that your own muscles likewise stoop or reach, push or relax.\u00a0 IF YOU DO NOT RESPOND IN LIKE MANNER TO WHAT THE MODEL IS DOING, YOU CANNOT UNDERSTAND WHAT YOU SEE.\u00a0 If you do not feel as the model feels, your drawing is only a map or a plan.”<\/p>\n<\/a><\/a><\/a>
\nWARM\u00a0\u00a0 \u00a0\u00a0\u00a0 \u00a0LUKEWARM\u00a0\u00a0 \u00a0\u00a0\u00a0 \u00a0COLD
\nWhen the hands are dipped first into the outer containers, one feels – experiences – perceives – 2 different temperatures:
\nWARM (at left)\u00a0\u00a0 \u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0 \u00a0(at right) COLD
\nThen dipping both hands
\ninto the middle container,
\none perceives again
\n2 different temperatures,
\nthis time, however,
\nin reversed order
\n(at left) COLD – WARM (at right)
\nthough the water is neither of these temperatures, but of another, namely
\nLUKEWARM
\nHerewith one experiences a discrepancy between physical fact and psychic effect called, in this case, a haptic illusion – haptic as related to the sense of touch – the haptic sense.
\nIn much the same way as haptic sensations deceive us, so optical illusions deceive.\u00a0 they lead us to “see” and to “read” other colors than those with which we are confronted physically.”<\/p>\n<\/a><\/a>
\n“. . . the European tradition is full of images of torture and pain, most of them sadistic.\u00a0 How is it that this, which is one of the harshest and most pain-filled of all, is an exception?\u00a0 How is it painted?
\nIt is painted inch by inch.\u00a0 No contour, no cavity, no rise within the contours, reveals a moment’s flickering of the intensity of depiction.\u00a0 Depiction is pinned to the pain suffered.\u00a0 Since no part of the body escapes pain, the depiction can nowhere slack its precision.\u00a0 The cause of the pain is irrelevant; all that matters now is the faithfulness of the depiction.\u00a0 This faithfulness came from the empathy of love.”<\/p>\n
\n<\/em><\/p>\n