The Language of Drawing and Painting

To understand paintings made by Chinese or Japanese artists or by European artists of the Middle Ages or the Renaissance, it is in a way just as necessary to know the conventions and the points of view which governed their execution, as it is to know Chinese and Italian in order to understand books written in these languages. It is the object of this volume to make the various kinds of drawing and painting intelligible by explaining the conventions and limitations on which they are based. The last chapter deals with the general points of view involved in the “modernistic” art of the day. PREFACE CONTENTS PLATES PART ONE. THE TERMS OF DRAWING AND PAINTING I. THE TERMS OF VISION AND OF DRAWING AND PAINTING. THE WORKING TONE SOLID 2. QUALIFICATIONS AND LIMITATIONS OF THE WORKING TONE SOLID - OTHER TONE SOLIDS - A TRUE TONE SOLID - PURITY AND BRILLIANCE PART TWO. MODES OF REPRESENTATION IN DRAWING AND PAINTING 3. THE VISUAL IMAGE AND VISUAL CONCEPTS 4. THE VISUAL EFFECT 5. THE MODES OF DRAWING 6. THE MODES OF PAINTING 7. VARIATIONS IN THE REPRESENTATION OF DETAIL AND IN THE TREATMENT OF TONE RELATIONS IN PAINTING 8. THE USE OF LIMITED PALETTES OR LIMITED TONE SEQUENCES 9. CONCLUSION -THE USE OF DIFFERENT MODES IN RECENT PAINTING APPENDIX I. DESIGN IN TONE RELATIONS II. THE EMOTIONAL SIGNIFICANCE OF DIFFERENT GENERAL TONALITIES III. THE QUESTION OF PREFERENCE FOR INDIVIDUAL TONES IV. A HYBRID MODE OF DRAWING AS ILLUSTRATED IN WINCHESTER MSS. BIBLIOGRAPHICAL NOTE PLATES