The Elements of Drawing

Timeless work by one of the greatest art critics of all time begins with bare fundamentals and offers brilliant philosophical advice. " . . . the truth behind Ruskin's statements is always clear." - American Artist. Can drawing - sound, honest representation of the world as the eye sees it, not tricks with the pencil or a few "effects" - be learned from a book? One of the most gifted draftsmen, who is also one of the greatest art critics and theorists of all time, answers that question with a decided "Yes." He is John Ruskin, the author of this book, a classic in art education as well as a highly effective text for the student and amateur today. The work is in three parts, cast in the form of letters to a student, successively covering "First Practice," "Sketching from Nature," and "Colour and Composition." Starting with the bare fundamentals (what kind of drawing pen to buy; shading a square evenly), and using the extremely practical method of exercises which the student performs from the very first, Ruskin instructs, advises, guides, counsels, and anticipates problems with sensitivity. The exercises become more difficult, developing greater and greater skills until Ruskin feels his reader is ready for watercolors and finally composition, which he treats in detail as to the laws of principality, repetition, continuity, curvature, radiation, contrast, interchange, consistency, and harmony. All along the way, Ruskin explains, in plain, clear language, the artistic and craftsmanlike reasons behind his practical advice - underlying which, of course, is Ruskin's brilliant philosophy of honest, naturally observed art which has so much affected our aesthetic. Three full-page plates and 48 woodcuts and diagrams (the latter from drawings by the author) show the student what the text describes. An appendix devotes many pages to the art works which may be studied with profit.

From his early youth John Ruskin drew obsessively, a discipline that he not only kept up right through the production of his great literary works, but which was essential to them. This book is the result of quite considerable teaching experience.

Can drawing--sound, honest representation of the world as the eye sees it, not tricks with the pencil or a few "effects"--be learned from a book? One of the most gifted draftsmen, who is also one of the greatest art critics and theorists of all time, answers that question with a decided "Yes." He is John Ruskin, the author of this book, a classic in art education as well as a highly effective text for the student and amateur today. The work is in three parts, cast in the form of letters to a student, successively covering "First Practice," "Sketching from Nature," and "Colour and Composition." Starting with the bare fundamentals (what kind of drawing pen to buy; shading a square evenly), and using the extremely practical method of exercises which the student performs from the very first, Ruskin instructs, advises, guides, counsels, and anticipates problems with sensitivity. The exercises become more difficult, developing greater and greater skills until Ruskin feels his reader is ready for watercolors and finally composition, which he treats in detail as to the laws of principality, repetition, continuity, curvature, radiation, contrast, interchange, consistency, and harmony. All along the way, Ruskin explains, in plain, clear language, the artistic and craftsmanlike reasons behind his practical advice--underlying which, of course, is Ruskin's brilliant philosophy of honest, naturally observed art which has so much affected our aesthetic. Three full-page plates and 48 woodcuts and diagrams (the latter from drawings by the author) show the student what the text describes. An appendix devotes many pages to the art works which may be studied with profit. Unabridged republication of the text from the Library edition of The Works of John Ruskin, 1904.

Timeless work by one of the greatest art critics of all time begins with bare fundamentals and offers brilliant philosophical advice from sketching to the laws of color and composition. "The truth behind Ruskin's statements is always clear." -- American Artist. 48 illustrations.

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