STUDENTS’ DRAWINGS.
The following four examples of drawing from life, by students at Victoria Street, fresh from art schools, are interesting as tentative work. The object has been to test their powers and adaptability for line work; avoiding outline in the experiment as much as possible.
Nos. 1, 3, and 4, it will be observed, evade backgrounds altogether—the too ready solution of a difficult problem in line.
These drawings were made direct from life, in line; a system not to be recommended, excepting as an experiment of powers.
Examples of students’ wash drawings, &c., will appear in future editions of this book.
No. XLI.
“Spanish Woman.” A Study from Life.
By Ina Bidder.
This is a clever sketch with pen and ink and brush, and drawn with a bold free hand, reproduced on an (untouched) process block. It shows originality of treatment and courage on the part of the student; also the value of great reduction to give strength and effect.
(Size of drawing, 16 × 11½ in.)
No. XLII.
“Sketch from Life,” by Estelle d’Avigdor.
This student was the winner in a prize competition lately in The Studio. She has undoubted ability, but not clearly in the direction of line drawing. After considerable success in painting, this student writes: “I still find the pen a difficult instrument to wield.”
In this sketch we see the influence of Aubrey Beardsley and others of the dense-black, reckless school of modern illustrators.
(Size of drawing, 10 × 6¾ in.) Zinc process.
No. XLIII.
Sketch from Life, by G. C. Marks.
This pen-and-ink drawing is interesting for colour, especially in the hair; it would have been better modelled if drawn first in pencil or chalk.
This student has an obvious aptitude for line work; the touch is very good for a beginner.
(Size of drawing, 10½ × 8 in.) Zinc process.
No. XLIV.
Bough of Common Furze, by William French.
A most careful study from nature in pen and ink. (Size of original drawing, 14 × 11½ in.) Reproduced by zinc process.
This artist learned the method of line work for process in a month.