"Commence your drawing from a first distance, compare those which follow, making them subservient to the first.
"Establish either an imaginary or a real horizontal and perpendicular line before the objects to be represented; this means is an excellent guide which should always be adhered to.
"When, by slight indications, you have determined, established your places, look at nature with your eyes half closed. This manner of looking simplifies objects; details disappear; you then perceive nothing but the great divisions of light and shade. Then establish your masses; when these are correctly placed, open your eyes completely, and add the details, but with great moderation.
"Establish what I call dominants for your lights and shades. Look at your model attentively, and ask yourself which is its strongest light, and place it on your drawing there, where it is in nature; as, by this means you establish a dominant, you must of course, not exceed it; all other lights must be subordinate to it. The same thing must be said, the same calculation must be made, for the shadows; rub in your strongest vigor, your most intense black; then use it as a guide, a diapason, in order to find the value of your different shadows and half-tints."
Nothing can be more to the point, more simple than this, and surely M. Couture exemplifies what he says in his introduction: that what is felt strongly, and understood clearly, will be expressed with equal strength and clearness. He goes on to say with regard to
Elementary Principles Of
Drawing From Nature.
"You will only be able to copy the mobile objects of nature, when you are very certain of finding your places with rapidity; the means are always the same, but their application is more difficult. Therefore constant practice is necessary. A musician would say to you, Scales, more scales! and I say to you, Draw, draw incessantly! Draw from morning to night, in order to exercise your eye, and to acquire a steady hand."
The practical part of his book, M. Couture enlivens and illustrates by anecdotes taken from his own experience; these are the pictures by which, principally, he seeks to convey instruction. I will translate one of them for you:
"A young German entered my atelier to perfect himself, as he said, in his art; he made, as a beginning, a drawing which showed much technical ability.
"I complimented him on his cleverness, but at the same time told him that he had not copied his model faithfully, and that it would give me great pleasure to see his talent dedicated to the service of nature.