The Muse

Glenn Gould

 

Two months ago a problem I had all my adult life - a feeling of meaninglessness of art and a regret of being an artist, came to a crisis.  Despite of having a lot of orders I couldn't make myself work.  

Luckily at the same time I was exploring the oeuvre of a favourite pianist, Glenn Gould, who I listened to on and off most of my life, and only knew for his Bach. This time I heard his Beethoven, his moving and wise "contrapuntal radio" - modernist operas about the meaning of life, read many of his articles and interviews, and carefully watched his performances.

The unexpected result was the discovery of myself, a flinging open of inner doors to the source of art, that were shut since my teens, and an avalanche of inspiration that swept all the crises away as I welcomed my new muse.

Today on September 25, 2022 Glenn Gould would have turned 90, and I wanted to celebrate the great musician-thinker with some art and thoughts in this post and possibly some future ones

Gould playing Beethoven

 

 Glenn Gould was a utopian – to him art was a moral undertaking, and he spoke against such evils as professional sport, music competitions, applause, live concerts, and even professional art as a whole, as in his utopian future every human would become a non-competitive, nonviolent artist. His alternative to the sin of competition was the virtue of communication. I believe these ideas created the magic effects of his music-making. The sublime talking piano, the gestures and groans of a religious trance, the creaking chair, the stomping feet communicate the creative experience to your own mind and body, and convert you into art by revealing your own often long-forgotten path to artistic ecstasy, if you only care to follow.

 

 Glenn Gould - a 17mm blue chalcedony intaglio carving

 Here is Gould's own writing on the purpose of art, from the article "Let's Ban Applause":
"…the justification of art is in the internal combustion it ignites in the hearts of men and not its shallow, externalized, public manifestations. The purpose of art is not the release of a momentary ejection of adrenaline but is, rather, the gradual, lifelong construction of a state of wonder and serenity. Through the ministrations of radio and the phonograph, we are rapidly and quite properly learning to appreciate the elements of aesthetic narcissism - and I use that word in its best sense - and are awakening to the challenge that each man contemplatively create his own divinity."

 

A compilation of my drawings and carvings dancing to the Goldberg Variations for Glenn Gould's birthday

 

Andrea del Sarto: The Renaissance Workshop in Action. An Artist's Review

One of the best exhibitions I have seen, "Andrea del Sarto: The Renaissance Workshop in Action" is, at the moment of this writing, travelling from the Getty Museum to the Frick Collection where it opens on October 5 for the lucky viewers there.  

While star paintings are always on display in museums, drawings, no matter how beautiful, are hidden away in the vaults because of their sensitivity to light. This fact makes this show is a unique opportunity to see this rarely exhibited Renaissance master's most rarely exhibited works from world collections.  For an art historian or any educated artist these drawings are so iconic and familiar from reproductions that it is a dream-like experience to see them "live" all in front of you together with several of his magnificent paintings. It took me a bit of time before my head stopped spinning from being surrounded by such celebrities, and I could concentrate on studying in those magical rooms.

I'm very grateful for the inspiration and schooling this incredible show provided me with. Below are some of the copies and reconstructions I made at the show or inspired by it.

To learn, an artist in the "classical" representational tradition has to copy. When you copy from a colour print or a computer screen, you cannot compare the two drawings well because of size and medium differences.  But when you are standing in one room with the original drawing, and you have a piece of genuine red chalk or a substitute and some paper in your hands, it's a learning experience like no other.

Technical information:

For the copies appearing below genuine red chalk (Elba, sold by Zecchi) and genuine black chalk (France, sold by Kremer Pigments).  For some drawings I used the substitutes as noted.  For paper I used the Fabriano Ingres laid as well as Strathmore "toned tan" (which is sadly smooth but has a beautiful irregular colour), both not authentic, but then authentic paper is not to be found anywhere.

The chalk comes in chunks that I then saw into thin sticks.  Considering some of the filigree lines on del Sarto drawings he must have sharpened his chalks very well for certain passages.

Red chalk - the lighter one is from Russia the darker from Elba
and some tools to saw it into sections

What I also noticed is that del Sarto (as well as Rubens and many others from 1500-1600s used a harder red chalk than is available now.  The closest ones in hardness (though still not hard enough) are modern artificial waxy pencils such as Pitt oil base, Cretacolor oil and Koh-I-Noor Gioconda, but they don't work well because they are nearly impossible to smudge.

Original on the left, Genuine red chalk copy in the middle, Cretacolor "oil" pencil on right

Copy after del Sarto 

Pitt pastel pencil - maybe a little softer or as soft as genuine red chalk

Red chalk from Elba on Fabriano Ingres

Genuine black chalk on Strathmore toned tan

Study of the Head of a Young Woman, about 1523,
Elba sanguine on Fabriano Ingres paper

Red chalk from Russia. Beautiful colour, but too soft.
(this drawing wasn't in the show,
but I stumbled upon a very good quality image...)

"An Introduction to the General Art of Drawing" by Willem Goeree. Full text.

my related posts: 
1400s-1700s drawing treatises online 

Copying a Rubens drawing (materials, techniques)
Preparing to draw (from 1400s-1700s treatises)
Hatching and shading (from 1400s-1700s treatises)
Copying a Rubens painting (materials, techniques)
Inspired by Rubens (Getty Museum page) 
English translations of drawing treatises (Goeree, de Piles, Jombert)   

Painting materials of Rubens; bibliography

Renaissance woodcut tools

Image gallery: copies and reconstructions

In 1668 Willem Goeree (1635-1711) published an influential treatise on drawing, Inleydinge tot de Al Ghemeene Teycken-Konst.  In comparison to the treatise of Leonardo which it borrows from, it contains an unusually large amount of technical information about drawing materials and techniques.  It also deals with interesting practical matters of learning and teaching drawing, that other treatises don't touch upon.  The book in Dutch was republished and reworked several times and translated to German and English in the 1600s and later. I also find bits and pieces of its text used in numerous other drawing manuals and treatises (e.g. Salmon, de Piles, Jombert) without a mention of Goeree's authorship.

I have transcribed and posted the 1674 English translation keeping the original spelling.  There are three illustrations in the text.  I substituted them with corresponding plates from editions of Goeree publicly available on-line.  

This English translation also contains many plates at the end that I haven't included because of their copyright status.  These plates don't appear in Goeree books in Dutch or German. They represent the traditional drawing book repertoire: eyes, noses, mouths, hands, feet, faces, and whole figures, most of them rather unrefined copies of well-known drawing book prints (I could recognise Fialetti, Palma il Giovane, Reni, Cousin, maybe Bloemaert and Guercino; others I have not yet identified). 

I've done this project on my own and without feedback, so I will appreciate any comments, corrections, suggestions and any other input.   I would also be happy with a greeting from anyone who studies this subject.

Illustration from a 1678 German edition (digitized here)
________________________________________________________

AN INTRODUCTION TO THE GENERAL ART OF DRAWING 

(for full name see title page)

Title Page and Introduction

CHAPTER I
What the Art of Drawing is, and in what it doth consist 

list of side notes:
Wherein the Art of Drawing doth consist. 

The Art of Drawing necessary to all men.
Principally to Picture-drawers.
The Art of Drawing is the soul  of the art of Painting. 
The Art of Drawing needeth the whole man
The Art of Drawing ought to have his Fundamental Rules as well as other Arts.
In the instruction you must go from step to step
A Simile or Similitude.
You must begin for the first step and go not the second before you well understand the first.
The Art of Drawing, beloved of all men.
The first Mover in this desire which comes of a natural inclination
Parents ought to observe the natural inclination of their children.
How you may know whether a child be born to the Art of Drawing or not.
Drawers and Picture Drawers must be of a singular nature.
Similitude.
What a young Learner must do.
How instruction is given.
Observation of this introduction
The Learner must apply himself to a good Master
Wherefore?

CHAPTER II
The first Beginning of the Art of Drawing.
 
The first exercise.
Perspective.
The first beginnings are about some particular Members.
Faces subject to most changes.
Oval.
What the Oval doth signifie.
Reason wherefore this Cross in the Oval is not understood of the young Learner.
A great fault.
Means to understand to draw with judgment all manner of faces.
A Fore-right face.
a 3/4 face
A face looking downward
A face looking upward.
A side face 
The profit that comes by the manner of this instruction.
Good Masters not always good Teachers

CHAPTER III
Of the Order and Manner to be Observed in the Art of Drawing.
 
First step. To draw after Draughts very profitable
Second step.  To draw after Pictures. Requires greater judgement. For what reason
The third Step.
A good Figure necessary to draw after.
The reason
The fourth Step
Perswasion to much drawing.
Example to others.
Custom in Rome
This should invite us to imitation.

CHAPTER IV
Of those things which in every degree of the Art of Drawing are necessary to be observed.
 
Drawing after Draughts.
Drawing after a Picture.
How to place a picture.
Distance.
Put your Principal right before you
The beginning of a Draught.
You must assure your self of every stroke.
With patience your must overcome your passions.
The Actions must appear as first in your scetzing.
To use care, thus in drawing a Schetz neater, that you lost not the action. 
Confer your draught with your principal.
Faulss (as soon as seen) to correct.
Better is one good Draught, then 100 without observation
You must sometimes behold your work with a fresh eye.
How it comes to pass that we better discern faults. 
Reason wherefore
Example

CHAPTER V 
Of the things which in the third Step, viz. in Drawing after Plaister-Rounds, or Embossed Works, are necessary to be observed.

To chuse a good light to draw after Plaister-Rounds.
Means how to amend the light.
At what height you shall chuse your light.
Night-light.
How to use the same.
Night-light giveth hard shades.
Remedy
What distance to use in sitting.
To observe how the parties the one under the other do appear.

CHAPTER VI
Of the anatomie, or Knowledge of the inward and outward forme of the Humane body, concerning Muscles and Motions of the Arteries.
 
To know Anatomy necessary.
Profitable.
Abuse.
Means to exercise themselves herein.
Anatomy in Plaister
Divers Books of Anatomy.
From the Books go to the life.
Not to make all Muscles.
Wherefore.
In what part you must observe your Muscles most.
Wherefore
Fat bodies have small Muscles.
Fair bodies must not be muscled hard.
Wherefore.
Of Muscles, many changes.
In what parts the most changes are incident.

CHAPTER VII
Of those things, which in drawing after the life, are necessarie to be observed and understood.
 
The natural Life reacheth all things.
To chuse a College
To what purpose
Place, light.
Model of what shape.
Place, light.
Divers manners to set the Model in action.
In all actions Members must make a Compact together. 
What Principally is to be observed in the good actions.
Examples of four footed beasts.
The good Position Of a figure.
Out of the tending of the Members to see what doth the figure.
The manner how to sit to draw. You shall not look too much, or imitate anothers Draught. 
Unskilful Drawers may place themselves with them that are experienced
For what reason. 
What is to be observed commonly. 
The Model shall not stand too long in his action.
Wherefore
Observation
To learn to draw compleatly
To draw Landskips

CHAPTER VIII
Of the several sorts of Chalks and Crions for the Use of Drawing, and upon what they are to be used.
 
Charcoal.
Black lead good for to scetch withal, principally for Masters, that are sure in their drawing.
Red chalk.
Black chalk.
Faults
Use.
Charcoal dipt in Linseed-oyl.
One or two houres.
Tobaccho---Pipe-clay.
White Chalk
Coloured Crions how to make them
Whereupon to draw
White Paper.
Coloured paper.

CHAPTER IX
Of the Use and Manner of Drawing.
 
Learners are counselled to follow their Principal
Manner how to do.
How to hold your drawing Pen.
Rouseling
Rouseling alone not very graceful.
Hatching and doseling a good manner.
Doesling.
Common mishap.
Remedie.
Manner how to smooth som heightenings.
Washing.
Use.

CHAPTER X
Of the General and his Parts, and how they must be understood and observed.
 
What Parts and Generals are.
Use
How to see them.
For what reason.
Example
Distinction.
Parts also have a generality in themselvs, altho' they are Part to the general.
Example.
Likeness of things dwelleth most in the general.
Example.
2 Example.
Contrapositio.

CHAPTER XI
What light and shadows be, and how thorow the same all things come to have their being.
 
Lights and shades can express all things.
Lights and Shades can express all things.
Prove.
General shadow.
Shadows upon shadows.

CHAPTER XII
Of the Plain, smooth, sharp, and sweet drawing.
 
Learners abhorre plain drawing.

CHAPTER XIII
Of the Heightenings.

CHAPTER XIV
Of the Reflection.
 
Reflections wheron they fall most.
Reflection by what occasioned.
Use not too much of reflection.
Wherefore.
Not to make reflection without cause.

CHAPTER XV
Of the Observation of Perspective of light and dark.
 
Necessitie of observation.
Similitude.
What you shuld take heed of in your observation
Dark comes forward as well as light.

CHAPTER XVI (one illustration)
Of the Circumferent or out-stroke, and his looseness and a good Position, as also of keeping of their Parts.
 
Scetch.
Circumferent stroak.
Strokes on the side of the light to make sweet.
Draughts must be drawn without circumferent strokes,
The life is without strokes.
Example
Strokes you must not draw till necessitated.
Small things are drawn without strokes, and appear as if they were.

CHAPTER XVII
Of the Finishing of a Draught.
 
Profit of this observation.
Heightenings never to make so high as the highest wont.
Observation
In Pictures dark and light difficult to distinguish.
Wherefore.

***
An Addition


PLATES (see my introduction above)



 

Goeree, Chapter III

transcribed by Lala Ragimov, original spelling kept

An introduction to the general art of drawing. 

A 1674 English translation of
a drawing treatise by Willem Goeree (1635-1711)

 <<Previous Chapter            Table of Contents            Next Chapter>>

______________________________________

CHAP. III.

Of the Order and Manner to be Observed in the Art of Drawing.

IN respect that in all things there is a manner and order, or at least ought to be, so do we esteem (observing our Promise) it necessary to go forward from step to step, therefore when the young Practitioner is now well-grounded in drawing the Oval, and knows how he must draw a face, and the several part thereunto belonging in the same Oval.

First step. To draw after Draughts very profitable

Then will I  here shew him the first step of his exercise, viz. he must exercise himself to draw with earnest desire and diligence after good Draughts or Prints, which are duly observed, and judicially compleated. And by drawing after draughts (I judge) to be most profitable for those that intend to exercise Painting, but as for those that intend Engraving or Etching, let them follow the best Prints after the ablest Masters, which they intend to practice by: therefore he that teacheth, shall at first shew the young Practitioner the easiest and facilest ways according to his intended Practice, whether for Painting, Engraving, or Etching, according to the capacity of the Practitioner, and so go forward from that which is easie to that which is harder, observing this Order as well in drawing as in the draught which you give unto him to imitate and follow, until at last put before him, observing that which (of the properties belonging to drawing) we shall declare hereafter.

Second step. To draw after Pictures. Requires greater judgement. For what reason

    The second step of his Exercise is, to draw after pictures to bring them out of a great into a small proportion, and by this oftentimes using, they will learn and be accustomed to guess well, and beget a good and sure hand in drawing. And as this is the second step of his Exercise, so it is harder and requires greater judgement and knowledge, for in a picture you finde neither a circumferent stroke, neither manner of drawing, neither difference between light and light. (which in the variety of colours lies hid) although clearly and judicially shewn; and because the just and due shades of a picture must be exprest by a mean of only one single thing, viz. black or red oker, or the like, therefore sensible observations are necessary in the situation, or that which in a picture comes forward or goes backward, to observe the same also in your draught, all which in his due place shall be spoken as thought fit.

The third Step.

Now to come to the third step, we must consider again to learn some new thing, and therefore we commend unto you the Drawing after Rounds of plaister, done by very good Masters; there be the Works of Francisco which has made many fine children in plaister:

A good Figure necessary to draw after.

in like manner the Gladiator of his a very neat and exquisite Figure, the Rape of the Sabina of J de Bolonge, the Laocoon, the Wrestlers, the Greek Venus, the Hercules, the Hermes, the Anatomy of man of several and divers Actions, and several, as well antique as modern faces:

Plaster is one Introduction to the Life

The reason

after all the young Practitioner with very much profit may practice to draw; and this exercise is therefore the more necessary, because it is an Introduction to learn to draw after the life, as drawing after pictures is harder then to draw after a draught, for the reasons abovesaid.

   In like manner, is drawing after plaister harder then drawing after pictures, because in plaister the certainty of the circumferent stroke is not so apparent, neither the shadows nor lights in such a manner apparent as they are in pictures, draughts or prints; the manner, and what is to be observed in this exercise, shall be taught in another place, when I shall speak or teach of every particular exercise by it self.

The fourth Step.

    Now coming to the fourth step, viz. the life it self of all natural things, the Compleatest, the best Master for imitation and liberty, our only observation, for here is all things to be found, of what is to be found, or ever was enquired after, by brave and famous Masters, and therefore very necessary, (as soon as Practitioner in some means understands the foregoing exercises)

Perswasion to much drawing.

to exercise to draw after the life it self, by the direction and instruction of a good Master, with diligence and continual labour of the young Practitioner, according to the old proverb, Dii laberibus omnia vendunt, the gods for labour sell all things; or Gutta cavet lapidem, non vi sit sape cadende, by continual or often dropping, (and not suddenly) is a stone made hollow; therefore before we go to the instruction of the exercises in particular, we recommend to the young Practitioner diligent and a continual drawing, forasmuch as this is the way to attain to the perfection therein, not imagining that as soon as they begin to have only a glimpse of things, that they have enough, and so desist or decline drawing any more, but forthwith take the Pencil in hand, having a desire now more to painting, and not to drawing, which seeming imaginations now adays many young Painters keep very much down and backward in their practice,

Example to others.

which is lamentable and much deplorable, notwithstanding we have so many famous Masters, which continually during their term of life, have spent much of their time in drawing the last period of their lives followed and visited their weekly Colledges and drawn their Academical Figures.

Custom in Rome.

It was a Custom in Rome, and it is as yet observed and kept inviolated, that youth was kept sixteen, eighteen, nay, twenty years to drawing only, without suffering them to take either colour or pencil in their hand, thorow which means they became so expert in the Art of Drawing, that in a little time afterward, all things appertaining unto Painting, they easily, well and perfectly understood, and Master-like made demonstration thereof by their own hand to the world; and therefore it is not to be admired, that so many brave Masters are come forth out of the Schools of Rome, and yet daily come.

This should invite us to imitation.

Which Examples also should be a spur unto us to a diligent and serious imitation, That the Art of Drawing and Painting here in England may flourish, as much as in any part beyond the Seas, nor have any occasion to give Precedency or preeminence to any foreign Artist whatsoever: which is short I had a desire to speak of, to the rousing and stirring up of all Lovers of Art, and these also that has a desire to practice in the same. Now I will proceed, and with singular attendance observe what is remarkable to be observed in every particular step by it self.

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Goeree, Chapter IV

transcribed by Lala Ragimov, original spelling kept

An introduction to the general art of drawing. 

A 1674 English translation of
a drawing treatise by Willem Goeree (1635-1711)

<<Previous Chapter            Table of Contents            Next Chapter>>

______________________________________________

CHAP. IV. (the entire text below was in italics, LR)

Of those things which in every degree of the Art of Drawing are necessary to be observed.

COming now to the Practick of the Art of Drawing it self: And first, of Drawing after Draughts or Prints, I shall shew in the first place what is to be observed in drawing after a Print, Draught or Picture; and after I will speak of the manner of handling, and likewise of those things which customarily are most in use in the Art of Drawing, and of some particular Properties. What then appertained to Drawing after Prints,

Drawing after Draughts.

of that I will say nothing in particular, for that which is necessary in drawing after a Draught is also necessary in drawing after a Picture; and because not to make a Repetition of one thing twice; I will pass it by here, and speak of it in its place, where I shall speak of drawing after Pictures.

Drawing after a Picture.

How to place a picture.

Distance.

    Having then a Picture to draw after, put the same in a Place of good light, so that the flickering of the Glass of the Colours doth not hinder you; and for to finde that place, place your self (if possible) so that your eye together with the light of the day, runs to the Picture. Make choice of a reasonable distance, according as the Picture is big or small, at least so far of that with the opening of your eyes you may behold the whole Picture at once, for the greater your Picture is, the further off you must sit to draw after the same.

This image is NOT included in the English translation or in the 1668 Goeree's book, but it appears in later editions, so I thought to post it (from a 1678 German edition digitized here)

Summary translation:
A is the painting to be copied, 
B is the place from where light comes, 
D-C the place of the worst view (because of the reflection)

Put your Principal right before you.

Here it is to be noted, that when you draw after a Draught or Print, you must put the same strait or right before, even as you do a Picture, and you must not lay the same flat down before you, for then you behold the things presently to foreshorten; in the same manner shall your Paper (whereupon you draw) use five or six times double upon a Pannel-board, keeping the same in your lap, and with your knees elevate the same as high as possible; thus shall the thing you draw stand before you upon one end: and after this manner you shall observe the better whether your draught be like unto the Principal, which otherwise (your Draught lying flat before you) you should not see, by the reason aforesaid.

The beginning of a Draught.

This being observed, guess for the first the middle of your Picture, or that which you intend to draw, after having made your guess, shew the same with the point of your coal upon your Paper; then observe your biggest Figures (if there be more then one) touch the same with a light hand in his proper place; and so all that is in the Picture, then it will appear presently whether your guessing and your scetching be true;

You must assure your self of every stroke.

adde hereunto, that you assure your self of every stroke (which you are to draw,) with good reason and observation, taking good heed upon the great and general Parties, omitting the small breakings of Parties to the next scetching or drawing, whereof I shall speak hereafter; and so doing, shall you attain, not only readily, but also judicially, and with pleasure to your purpose; but contrariwise, if you use your self without observation, and as desperate, to begin your drawing, without considering whereunto the same will tend or run, then shall you, having made your draught, draw the same over and over again, and again being drawn over to little or no purpose, be overwhelmed and overcom with melancholy, and extinguish your genius or spirit, or at least cause a great tediousness in the same, and like Ship-Masters which without Compass go to Sea, not knowing where their Landing-place shall be, desperately leave the Rudder, despair of a safe landing, at last miserably perish in the sea;

With patience your must overcome your passions.

therefore I desire that Learners will take diligent heed to their Passions, and to their averse inclinations, for to overcome the same with Patience and Magnanimity, to make a firm purpose, That on that which (otherwise you made account to draw in two or three houres,) you bestow a whole day or two, and so doing, you shall not only proceed slowly and prudently, but you shall sooner then you thought, and better then you should have done otherwise, with great affection and speed finish: When you now rudely, yet with good judgement have made your scetcz, overlook them with a great care whether your Schetz be good, and whether the Actions of the Figure or figures contained in your Principal; you can observe also in your Schetz,

The Actions must appear as first in your scetzing.

for the Actions must shew themselves in the first and the rudest Schetz very apparently, before you can assure your self of any good , in regard that Actions are the life of a Picture, and by consequence of your Drawing. Having this, begin then to correct and amend your Schetz neater and neater, here taking a little away, and adding there a little, for with a Charcoal this is done very conveniently, for easily you may wipe away what is amiss, and may therefore very well be called a good means, attending the Art of Drawing;  you shall also take heed, that when you draw over your Schetz neater and neater, that you do not spoil or take away the first good

To use care, thus in drawing a Schetz neater, that you lost not the action.

Confer your draught with your principal.

Actions of your Schetz, which easily may happen, if you do not consider, (by what bowings or turnings of the several Parts, those or other Actions in a Figure or Figures come to represent themselves, or come again to be worked and spoiled; then pin your Draught upon a Pannel-board fast with a Pin or two; put the same down even with your picture or Draught which you have imitated; set your self down again in your former place, and behold your draught for a time with due observation, comparing the same with your Principal,

Faulss (as soon as seen) to correct.

and you shall easily observe what in your Draught is drawn amiss; be not tedious then, nor unwilling, but amend presently what you see amiss; suffer not a fault to pass by without correction, for such a draught would be a continual trouble of your patience, or by custom of seeing, hinder you to see the faults committed, for reasons as shall be shewn hereafter; take therefore rather Patience to perform all things requisite in this, suffering no faults to escape, that in this manner out of custom you may learn prudently and providently, with much patience to finish your work. Further, it shall profit you more, and a greater Progress you will make in the Art of Drawing,

Better is one good Draught, then 100 without observation

to make one good Draught, then a hundred without observation; you must strive with more pleasure to draw, then to have drawn, that is, rather to desire to be doing then to have done.

You must sometimes behold your work with a fresh eye.
How it comes to pass that we better discern faults.
Reason wherefore.

It is also not impertinent sometimes for one hour or two to lay by his drawing, and to recreate himself in somewhat else, whether it be in reading, or looking upon some good Prints, which doth stir up the spirit for to go on again in his drawing, and to behold the same with eyes unfatigable, and it shall oftentimes come to pass, that you shall espie many faults in your work, which before you could not possibly observe? the reason is that as then we behold our work as if it were another bodies work never by us seen before, and then our eyes easily espies some fault or other, which we take up presently, ex contrario, because we behold our work from the beginning; thereof comes a Custom to the eyes to behold the things of such former shape which hinders that the faults are not easily perceived by our understanding.

Example.

    The truth of this you may easily conceive by daily experience, for example, if we see a new fashion of cloathing, which we conceive to be not fashionable, or not becoming, and which many times is contrary to reason it self, then can we presently espie the faults, and disprove what we dislike in the same, but when this fashion begets a custom, so that for a long season we have had this fashion before our eyes, then we, in stead of an exception, take a love to it, and covet for the same, so that the same thing which before we found great fault withal in beholding it with our eye, now with great pleasure as a brave and a fine thing begin to behold the same. Therefore assoon as you shall espie a fault in your Drawing, amend the same presently, and tarry not, until a custom (as is said before) come to your eyes.

This rule you shall observe in all manner of Drawing, be it after Prints, Draughts, Pictures or Plaister-figures, yea, after the life it self, where conveniency and place will allow and permit the same; this then being well observed, then you shall proceed to a sure and judicial circumferent stroke, to shading and finishing of which, (when we come to speak of finishing) I shall shew divers ways and manners.

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Goeree, Chapters XI, XII, XIII, XIV

transcribed by Lala Ragimov, original spelling kept

An introduction to the general art of drawing. 

A 1674 English translation of
a drawing treatise by Willem Goeree (1635-1711)

 <<Previous Chapter            Table of Contents            Next Chapter>>


___________________________________________________

CHAP. XI.

What light and shadows be, and how thorow the same all things come to have their being.

IT would be in vain to make a further progress in our Instruction, unless we understand first the nature and virtue of lights and shades, for there are no things in nature which can be distinguisht by us in a lesser or a further distance from us, much less can be expressed by the Art of drawing without this knowledge, for without dark and light nothing can be made like, or to resemble unto, or after that, which it ought to resemble, so that by consequence the lights and shades gives a being and representation unto all things; and to prove this, draw a counterfeit upon white paper with black Chalk, laying aside all sorts of Colours or Crions, then you and others shall judge that the Counterfeit is well drawn, and the likeness good. (I speak of one that is fit and well-experienced in such things.)--- Here is asked, what correspondence hath black chalk wherewith you made your shades, and the white paper, thorow which is represented the light of your counterfeit, which have lively colours, and being of that same, after whom you took your draught, that such a lively picture so like should be made; this likeness is not caused thorow the circumference or out-stroke; it is not the black chalk, nor the white paper, neither any single strokes drawn; 

Lights and shades can express all things.
Prove.

but it is only the lights and shades properly set in their places, with such a just and equal ballance as can be imaginable, and the life it self; (after which we have taken our draught) doth represent unto us, for it is impossible, that either a round circle, or a round spot of flat colour should represent a Globe, except the roundness and likeness of the same should be given him, by shadowing and heightening; also thorow the circumferent or circular stroke, the generality of the Globe might be discerned, as may be apprehended out of the foregoing chapter, but without observing the roundness of the same on every side. --- 

General shadow.

Shadows upon shadows.

It is also to be observed, that in the shadowing, a generality is to be observed, thorow which means many things may be seen divers ways, as in great even shadows, in the which many times more or less darknesses are hid principally, if you behold them close by, but standing at some distance, then the same changes in a general Mass, or a flat even shadow, upon which (in your drawings, and in observing the shadowed parts) you must take provident and direct care, that in your drawings the general darkness of your shades be not spoiled, by some meaner or lesser interwoven darknesses, making them either too hard or too soft, and so also must you do concerning light.

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CHAP. XII.

Of the Plain, smooth, sharp, and sweet drawing.

Learners abhorre plain drawing.

HAving said sufficient of the lights and shadows, and their virtue: it seemeth necessary also to say something of the plain, smooth, sharp and sweet drawing, for in respect that Learners are most of that temper and condition, to have (in the beginning of their drawings) and abhorring of plain and smooth drawing and so use and habit themselves to draw hard and stiff; which to avoid, let them with great patience and indefatigable labor, strive to get the best manner of drawing; and although in the beginning they do not please us, it matters little, for none is born a Master; and he can never be expected to do well that never did do ill; we learn from day to day, we amend from day to day, and all is for to become a compleat and well-experienced Drawer, which consisted in that, that a Drawer at once draws plain, smooth and sharp, and yet finishes all sweet, so that the shadows and lights seem to melt the one into the other, all which we hope to demonstrate clearly unto you.

Plain drawing then, is to lay all the shades plain and even, whether it be by hatching or smutching, after such a sort that the edges round about keep within the pale of their drawings, and that it may clearly appear that for a circumscribed figure such a shadow have, and have sides roundabout not to vanish away in one unpaled fuzziness, or blurr; in which the sharpness and the edgings of their form cannot be seen; and to obtain this, you shall observe not to make your shades at first too hard. Secondly; that you do not put one shadow upon the other too dark, neither too strong, but always a little differing the one with the other, then you shall at once have plain, soft and smooth drawing; but putting your shades too dark or hard one upon the other, than your work presently will become hard and stiff. -- Plain drawing and sweet drawing is subject to both.-- By drawing too sweet you make your draught too fuzzy; and by drawing hard and sharp you make your draught too stiff; but to choose out of two evils, it will be better to draw plain, and that which is somwhat stiff, then to draw smooth and soft, the which is a childish manner of drawing, and brings him to fuzziness; for stiffness thorow the means already shewn you will easily overcom if you take diligent heed thereunto, likewise have a care whether you smutch, rousel, dosle or wash not to pass one thing too often for by that means you com many a time to lose your plain and even drawing, and what is here said of the shades, the same must also be observed of the light and strong heightenings.

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CHAP. XIII.

Of the Heightenings.

THE Heightenings are those parts in a draught, where the highest parts thereof are represented to be, and whereupon the day doth give his utmost light; which if we draw upon white paper, then for the uttermost light is left the white paper, for a higher light then that is not to be had, and for the lesser light it must be a little faintly shadowed, and the rest work out proportionably; as it is becoming; but upon coloured paper, white crion, and Tobaccho-pipe-clay are used for the first and second heightnings, putting each in his due and proper places, according to more or less light required, which operation hath a singular and great power in this manner of drawing, wherefore it is necessary that good heed should be taken there in, -- in the operation then of that , you shall take heed that you heighten not in too many places. Secondly, that you do not heighten any thing more than is fitting. thirdly, you shall not heighten too near the dark or shadows, neither too near any out-line or circumferent stroke, except it be accidental to make some reflection, otherwise they shew hard and stiff. Fourthly, that you make your heights not sharp and flat, and in places that admits of much heightning, put the greatest light in the middle, and the lesser toward the edges, for to beget the better rounding. Fifthly, take care for to leave conveninent faints of the ground of your paper, between your heightnings and shades, which will give a great lustre to your heightnings and shadows, and will cause a singular plainness and evenness, as I will yet make appear in another place.

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CHAP. XIV.

Of the Reflection.

Reflections wheron they fall most.

Reflection by what occasioned.

SOmetimes (according to the condition of the work) appear some lights in the shadows upon the edges of round bodies, and principally upon such bodies, which are made smooth, evenner and most glassie, or glittering, as silver and gold or other bright metals, as is that same from whence that light is occasioned, and this is called Reflection. It is commonly occasioned out of this, viz. That if the upper plain be struck with any light, then doth it reflect upon the next shadowed body, which is opposite unto it,

Use not too much of reflection.

Wherefore.

Not to make reflection without cause.

and although this gives a Ornament to a Draught yet shall you be circumspect no to use too much of it, for it causes a glittering like brass or copper: be it then, that whether you draw after Plaister, or after the life, always take head to that, that the reason of your actings always may be found therein; that is, that the caus of more or less reflection, or no reflection at all, compleatly may be seen and discerned.

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CHAP. XV.

Of the Observation of Perspective of light and dark.

Necessitie of observation.

THAT which in a draught or picture, is most needful to the observation of Perspective of dark and light, (causing a draught or picture to be like in all things unto the compleat nature it self) and this being wanting, then such a draught or picture is held irrational and dead: there then we will declare what it is, and how it must be gained: this observation then, (that I may express the sense and meaning and working of the same) is that which causes all things contained in a draught or picture, to com forward or sink backward, and cause all things from the first to the last to stand in their due and proper places; and the vacuitie or emptiness (between body and body) to go from you, or to come to you forward, naturally to the eye, as if it was accessible by feet, and for this cause it is called Perspective observation: 

Similitude.

and like as one in Perspective doth observe the distance which every Colume hath, the one after the other, and also the standing of every Colume in his proper and singular place; even so (in a draught or picture, throw the diminution of dark and light) must be observed the distance agreeable to the appropriated declination, and place of everything be it then that you draw after a draught, Plaister-figure, the life or picture, 

What you shuld take heed of in your observation.

you must then (for to beget a good observation) take care what appeareth forward, and what backward, or how one thing followeth the other. Secondly, you must observe by what means they appear forward, or go backward; whether it comes to pass throw dark or light, and thorow what degree of more or less dark or light it comes forward or backward, 

Dark comes forward as well as light. 
for the dark can as well (as the light) according to proportion (it is strong or weak) com forward as go backward; so that in this as one of the difficultest studies belonging to the Art of Drawing and Painting, good heed is to be taken with all care and diligence. And although this instruction in writing in Practitioner cannot very well be taught, I will nevertheless put forward this lection in a word to the Learner, for to show a mean in general to a good observation. In drawing, then take good heed hereunto, that in your diminution of dark and light, you make such a distinction, as is betwixt your lesser light and your coloured paper, upon which commonly you draw with white Crion; thus shall you gain a good observation in your drawings and paintings of going backward, and coming forward.

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Goeree, Chapter XVI

transcribed by Lala Ragimov, original spelling kept

An introduction to the general art of drawing. 

A 1674 English translation of
a drawing treatise by Willem Goeree (1635-1711)

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CHAP. XVI.

Of the Circumferent or out-stroke, and his looseness and a good Position, as also of keeping of their Parts.

BEcause we have now made a description of the principal properties belonging to this art; and necessarie to be known and understood, it is requisit now (for to make a compleat and perfect work) thorow a short instruction to show, how the same work must be perfected and compleated, in exercising the art of drawing: for as much as this order in drawing is the best, and fittest, viz. first to understand drawing in its self, and then to begin, and so doing and learning finish, and compleat the same. I have also bin willing in my discription and teaching to observe and follow the same.

Scetch.

    First, then I will begin of the schetch, thorow which you must make first your rude draught (following what manner of drawing you please) being of a good spirit, aiery and judgement; and after this, with good observation (following the Rules prescribed herefore in that behalf) to correct and amend your first and rude draught, in the drawing of it over again, accustoming or using your self always to represent the shadows and touches in your draught with a coal, by reason, that you might be certain of a good Position in your draught. --

Circumferent stroak.

    Having this, then you shall begin to draw your out-stroke, or your circumferent stroak, taking very great heed, care and diligence to observe and keep the handsomness, beauty, comeliness and Gentility of the out stroke, taking also the same care and diligence to observe and keep his parts; for it happens very often, that the great parts, thorow several small bendings, are utterly spoiled, which fault seemeth to be natural in all youth, observing those small bendings so much, (which always they make greater and bigger then they ought to be) so that by consequence the greater part of his general (which nevertheless must represent the thing, and should have dominion over the lesser parts,) comes to lose very much, by reason whereof it happens, that in such a figure or figures, no great or stately Present can be found, which fault may be removed, if Learners would observe the general parts, and not to observe the lesser parts so much, before the general parts are perfectly drawn in their due and proper places, (we speak here of naked and clothed figures, and of other like things) the other bendings of the smaller parts, can afterwards with more convenience be put in, and thus they shall prevent that great and enormous fault of bending or chopping
their parts in too deep, as I have seen too too often the draughts of young Practitioners to have been abused, to the shame of their Instructors, which many times and often do not understand the same, or not desire to take the pain for to instruct the infancie therein; the truth of this appears in Nature it self, viz. that in too curious or near observation of the lesser things, the beauty of the general parts is oftentimes lost, or at least diminished; for it happens often, that a man at some distance from us, his visage shall appear more beautiful and pleasant to us, because we behold his face in general at some distance; but placing him so near, that we may behold the lesser things in his face, viz. pockholes, pushes, spots, and the like, then our eye comes to lose the general beauty which dwelleth upon that face, observing the smaller things, viz. pockholes, pushes, &c. which also have their seat there at a nearer distance, and such a one busies himself so much about the defective parts, that such a face seemeth not so handsom unto us as it did before; therefore it is to be noted, that all things seen at a convenient distance do present their being best of all, caused thorow the condensed Air that doth intervene; upon which in another occasion I shall further enlarge my self.---

Strokes on the side of the light to make sweet.
Draughts must be drawn without circumferent strokes,
The life is without strokes.
Example.

If it be so, that you draw with red or black chalk, have special care that your strokes be not too hard or too sharp, principally in the light; but in the shadowed part you may make them stronger and broader, always observing, that in shadowing your strokes do thus lose and vanish away, that no strokes may remain more, so that a body might judg your draught to have been drawn without a circumferent stroke: for in the natural life no stroke can be seen, but only one cind, or one impaled desisting of bredth and length of corporal things, passing all sides, or seem to touch each other; this you may observe in a picture clearly, where the uttermost parts of all things do agree with the color which is in the midst of its field; so that the termination of this or that colour doth represent the circumference without drawing of a stroke about it.

Strokes you must not draw till necessitated.
Small things are drawn without strokes, and appear as if they were.

    And although it often hapneth, that in drawing betwixt white and white, and against the light, a stroke must be drawn, for to shew the draught of the one or the other, especially upon white paper, yet shall you not do the same before necessity compelleth you thereunto, and there is no other way for to do it, and this you shall do with as much dexterity of hand as possible.

One may in many things (especially in little) present against the light without drawing of a stroke, which nevertheless shall shew so compleat as if a circumferent stroke was drawn about it; and because I cannot speak of all causes incident herein, I will pass it over, putting before your eyes one example for all, giving leave to the Practitioner to order the rest, according as the spirit of the Practitioner, the condition of the Work, and his Judgement shall give him leave.

from a German edition from 1678, digitised here

In the 1674 English translation this illustration is in reverse

You see then, that the face drawn with A before, is circumscribed with a compleat line or stroke; and the face B doth only represent the shadow that are underneath the Nose and Mouth; Now the question is, whether there be an error committed in the face B, which in the face A thorow the out-stroke might be amended? I supposed not; but contrariwise in the face B is observed a singular and handsom curiositie, where white against white makes a termination, without a circumferent or out-stroke betwixt them.

The meaning of this Example being once well understood, you will accustom your self to profit there by from day to day, and the beforementioned looseness and dexterity know and understand with better judgement to make use of in your drawings hereafter, and shall beget a singular good manner in drawing, not knowing from whence it cometh unto you.

That which is said, you must not understand of all manner of drawing, for a rude Scetch only consisteth in circumferent lines or out-strokes; nevertheless the dexterousness therein gives it a singular benefit; by consequence you may apprehend how you may work upon coloured paper, forasmuch as there is small difference, only that thorow heightenings you may do much and save many strokes, which cannot be done upon white paper; therefore in this manner of drawing you shall more take heed then in any other, to draw strokes in the light, especially while this may be supplied by heightning; and this is in short what we have to observe concerning the freeness and dexterity of the out-stroke.

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