The Training Of The Memory In Art And The Education Of The Artist

The Training of the Memory in Art and the Education of the Artist aims to teach the reader how to memorise things like form and colour composition so that they may draw and paint from memory alone. This fantastic guide is highly recommended for all artists, and it would make for a worthy addition to allied collections. The contents include: - The Training of the Memory in Art - Memory of Form - Memory for Colour - Advanced Study – Practical - Applications - A Survey of Art Teaching - Epilogue - Letters to a Young Professor - Drawing and Painting - Notes on Illustrations Many vintage books such as this are increasingly scarce and expensive. It is with this in mind that we are republishing this volume now in an affordable, modern, high-quality edition complete with a specially-commissioned new biography of the author.

This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1914 edition. Excerpt: ... LETTERS TO A YOUNG PROFESSOR SUMMARY OF A METHOD OF TEACHING DRAWING AND PAINTING INTRODUCTION The publication of my last pamphlet, "A Survey of Art Teaching," has caused a number of artists who find themselves in agreement with my ideas to ask me to publish a " Method." They consider that I can do no less, after my severe criticisms of the various methods of teaching actually in use. My judgment of the others, they declare, can only have been formed by comparing them with some method that I think better, and I ought therefore to submit this true method of mine to criticism. The true one! That is far too exclusive a word. There is not, and can never be, only one method. Every sensible teacher should have full liberty to construct his own method, provided always that he bases it upon true principles and rational deductions. My friends, however, insisted. The poorness of contemporary teaching seemed to them to be due to a general ignorance of true principles. If you believe yourself to possess such principles, they argued, it is your duty to make them known, and to spread them abroad. And further, even when your principles are once accepted, you have surely a way of your own of teaching them, which seems to you the best after your long practice and constant experiment. Could you not let that also be put to the test of criticism? I was, I confess, rather scared at the idea, and was disinclined to follow their suggestion, well meant as it was, when there appeared quite another motive for doing so. An old pupil of mine, a young artist of talent,1 who had just been appointed art master of one of our provincial art schools, begged me to help him by recapitulating to him the chief points of my method of teaching. And so I decided to...

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book. ++++ The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to ensure edition identification: ++++ The Training Of The Memory In Art: And The Education Of The Artist 2 Horace Lecoq de Boisbaudran Macmillan, 1914 Art

This Is A New Release Of The Original 1914 Edition.

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This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

From the Introduction: If you think about it, all life drawing and painting is at some point being done from the artist's memory, even if that memory is only a few seconds old. Every time the artist takes their eyes off of the model or scene and looks at their paper or canvas, their visual memory is involved. What if that artist's visual memory was highly trained? That artist might need the model for a shorter period of time, or she might have a more productive time when the model is in pose. He might be better at painting all of the fleeting effects that nature throws at us when we are landscape painting en plein air. Although I encourage you to consistently engage in memory-drawing practice, it should not supplant your regular art exercises. Memory-drawing ought to be done in addition to your regular art training, not instead of it. In a perfect world it would be integrated into traditional arts instruction, but the reality is that you will most likely be training your visual memory on your own. Memory Drawing: Perceptual Training and Recall exists to guide you in doing just that. It will also help you improve your abilities to remember fleeting effects, seize essentials, and even enhance your imagination.