The two chapters immediately following this are devoted respectively to Painting, Engraving and Drawing and to Sculpture and the Subsidiary Arts. Of practical value to the art student as an introduction to these two chapters are the articles Art Societies, by A. C. Robinson Carter, editor of The Year’s Art, and Art Teaching, by Walter Crane, the English illustrator, who also contributed the article Arts and Crafts.
For an alphabetical list of articles on the fine arts see the end of the chapter on Sculpture.
CHAPTER XXXIII
PAINTING, DRAWING, ETC.
The article Painting (Vol. 20, p. 459; equivalent to 190 pages of this Guide) is an elaborate “key” article which may well be the starting point for more definite study. The art student who actually wishes to paint or draw—as distinct from the student of the history of art—will do well to read first in this great article its third section, The Technique of Painting (pp. 482–497), by Gerard Baldwin Brown, professor of fine art, Edinburgh, and author of The Fine Arts. The main topics in this part of the article are:
The Materials of Painting; The Surfaces Covered by the Painter; Binding Materials or Media; The Processes of Painting, and their Historical Uses; Painting with Coloured Vitreous Pastes (with bibliography)—on this method and on similar processes see the separate articles Ceramics, with remarkably valuable and beautiful coloured illustrations; Mosaic; Enamel; Glass, Stained. The following sections are Fresco Painting (with bibliography)—see Fig. 34, Plate X (facing p. 477); Fresco-Secco (with bibliography); Stereochromy or Water-Glass Painting (with bibliography); Spirit Fresco or the “Gambier Parry” Process, as improved by Professor Church (with bibliography); Oil Processes of Wall Painting; Tempera Painting on Walls; Encaustic Painting on Walls (with bibliography); Encaustic Painting in General (with bibliography); Tempera Painting (with bibliography); Water Colour Painting (with bibliography).
Drawing and Engraving
In connection with this part of the article—theoretically before it, perhaps,—the student should read the articles Drawing and Engraving.
Drawing (Vol. 8, p. 552), by John R. Fothergill, editor of The Slade, is a peculiarly interesting article in its denial of the possibility of conveying colour by drawing or monochrome, in its tracing the development of drawing from the “papery” and flat first attempts on early Greek vases to the depth, length and breadth of the later Greeks or of a Michelangelo, for its criticism of the definition of artistic drawing as a process of selection and elimination from the forms of nature, and for its discussion of style or personality in drawing. See also the articles Caricature, Cartoon, Illustration, Poster, Plumbago Drawings.
Engraving (Vol. 9, p. 645) is a short outline article to be supplemented by: Line-Engraving (Vol. 16, p. 721), by Philip Gilbert Hamerton, author of Drawing and Engraving, and more popularly known as the author of The Intellectual Life, Human Intercourse and other essays, and by M. H. Spielmann, formerly editor of the Magazine of Art; Wood Engraving, by the same authors; Mezzotint, by Gerald Philip Robinson, president of the Society of Mezzotint Engravers; and Etching.
Supplementing the section in the article Painting on The Technique of Painting are the separate articles: Crayon, Pastel, Palette; Aquatint, Aquarelle, Encaustic Painting, Fresco, Gouache, Illuminated Manuscripts (with 5 plates), by Sir E. Maunde Thompson, late director British Museum and author of English Illuminated Manuscripts; Miniature (with 19 illustrations in halftone), by the same author, and by G. C. Williamson, author of History of Portrait Miniatures, whose articles on the miniature painters the Clouets, Cosway, the Hilliards, George Morland, Peter Oliver, the Petitots, Pierre Prieur, John Smart, etc., should also be read; Panorama, Pastel, by M. H. Spielmann, Portraiture, by Sir George Reid, the Scotch artist and late president of the Royal Scottish Academy, Predella, Tempera and Triptych.