=Two methods of presenting art instruction to lay students=
Art instruction for lay students may be presented in two ways:
1. By the study of theory supplemented by the experimental application of theory to practice, as by drawing, design, etc.
2. By the study of theory supplemented by an application of theory to the a.n.a.lysis and estimation of works of art as they are presented in a systematic study of the history of art.
Consider now the relation of practice and history to theory:
First as to practice: Art instructors are divided into three camps on the question of giving to the lay student instruction in practice: (1) Those who believe that not only is practice unnecessary in the study of theory, but actually harmful; (2) those who believe that practice will aid in a study of the theory of art; (3) Those who believe that practice is indispensable and who would, therefore, require that all students supplement their study of the theory of art by practice. As may be surmised, by far the largest number of advocates is found in the middle division.
One form of practice is Representation. In this form the student begins by drawing in freehand very simple objects either in outline or ma.s.s, and proceeds through more advanced exercises in drawing from still life, to drawing and painting of landscape and the human figure.
With the addition of supplementary studies, such as anatomy, perspective, modeling, composition, craft work, theory, history, etc., this would be, broadly speaking, the method followed in schools of art, where courses, occupying from two to four or five years, are given, intended primarily for those who expect to make some sort of creative art their vocation.
It is this kind of work which opponents to practice for the lay student have in mind. They claim that only by long and severe training can he produce such works as will give satisfaction to him or to others who examine his handiwork. They contend that the understanding of works of art is not dependent upon ability to produce a poor example. They offer many amusing a.n.a.logies as arguments against practice courses for lay students. They maintain that the proof of the pudding is in the eating, rather than in the making; that to enjoy music one need not practice five-finger exercises; that other creatures than domestic fowls are capable of judging of the quality of eggs; that to appreciate the beauty of a tapestry it is not necessary to examine the reverse side. It will perhaps be sufficient, for the present, to point out that in so far as such alleged a.n.a.logies can be submitted for arguments, they are equally applicable to laboratory courses in any subject which is studied with a non-professional or non-vocational purpose.
It is true, however, that such a course as that outlined above demands a large amount of time, compared with the results attained; and while successful courses in Representation are offered in certain colleges, the great ma.s.s of college students, who cannot hope to acquire a high degree of skill, would hesitate to devote a large part of their training to technical work, even if college faculties were willing to grant considerable proportions of credit for it toward the bachelor of arts degree.
=Relative value of freehand drawing and design=
It will be understood by the reader that the value of elementary freehand drawing as a means of discipline or as an aid to the technical student is not under discussion. The value of drawing as a fundamental language for such purposes is universally admitted. The questions are these: Can some form of practice in art be used to aid in the understanding of the principles of art? Is representative drawing the only form of practice available for the lay student who undertakes the study of art? Fortunately, the advocates of practice can offer an alternative; namely Design. Mr. Arthur Dow distinguishes between the Drawing method (Representation) and the Design method by calling the former _a.n.a.lytical_ and the latter _Synthetical_. In an article on "Archaism in Art Teaching"[107] he says: "I wish to show that the traditional "drawing method" of teaching art is too weak to meet the new art criticism and new demands, or to connect with vocational and industrial education in an effective way; but that the "Design method" is broad and strong enough to do all of these things."
"The drawing method," he continues, "is a.n.a.lytic, dealing with the small, the details, the _application_ of art; the design method is synthetic, dealing with wholes, unities, principles of art."
Mr. Dow carries his exposition into the application of the Design method to vocational work, but it can be used with equal effect in supplementing the lay student"s study of art.
But the questions immediately arise: Is not a preparation as long and arduous required to make a designer as to make a painter or a sculptor? And is not the half-baked designer in as sorry a plight as the half-baked artist of any kind? The answer to both is simple: The lay student is not in any degree a painter or a sculptor or a designer, neither is he in training for any of these professions. The advantage of the Design method is, that with no skill whatsoever in drawing, the beginner in the study of art can apply to his own efforts the same principles of design which have from time immemorial entered into the creation of great works of art. The college freshman planning a surface design with the aid of "squared" paper is applying the same principles that guided the hand of Michelangelo as it swept across the ceiling of the Sistine Chapel.
Such principles as symmetry, balance, rhythm, emphasis, harmony in form, ma.s.s, value, and color can be inculcated by solving the simplest as well as the most complicated problems. A graded series of exercises can be undertaken by the student that will, with a comparatively small amount of manual skill carry him a considerable distance in the understanding of the principles of design upon which all creative art rests. Another advantage is that, in the process, considerable skill in freehand drawing also can be acquired. But this advantage is merely incidental.
The greatest value lies in the fact that the Design method offers to the student an excellent means of self-expression. The student, through no fault of his, is too p.r.o.ne to absorb and too little inclined to yield of the fruits of his knowledge. Herein lies a partial remedy for the tendency of college students to make receptacles of their minds into which knowledge is poured through the ear by listening to lectures, or through the eye by reading. Herein is a means of overcoming mental inertia, for, certainly, the solution of a problem in design calls for thought--the amount of mental exertion being commensurate with the difficulty of the problem. In this, the Design method is superior to the Representation method, though it would be an error to a.s.sume that freehand drawing is chiefly a manual operation. Such an error is entertained by those only who never have learned to draw. Another considerable value lies in the fact that even if the lay student of design should in later life never set hand to paper,--as he probably will not, any more than he who has taken courses in drawing and painting will ever attempt to paint a picture,--yet he has come into practical contact with the leading principles of art, and has gained a knowledge that can be applied not merely to the discriminating understanding of the artistic qualities of the exhibits in art museums or in private galleries, but to the art of every day. It can be applied to the estimating of the artistic value of a poster, a book cover, or a t.i.tle page; to the choosing of wall paper; to the arranging of the furniture in a room; to the laying out of a garden; to intelligent cooperation in the designing of a house or in replanning, on paper at least, the street system of a city; or to the selecting of a design for a public memorial. It is not to be a.s.sumed that in thus exercising a cultivated taste he would always make conscious application of the principles of design in making his estimates. These would have so entered into his habit of thought that he would unconsciously make what Mr. Dow calls "fine choices."
The educational value of the Design method is almost universally recognized in the art departments of our public schools and in our art schools, and it is probable that when its aims and methods are better understood by our college faculties, its disciplinary, cultural, and informative value will be more widely recognized in the college of liberal arts, and that it will take equal rank with theme and report writing as a means of cultivating a taste for literature, with the practice of harmony and counterpoint as a means of appreciating music, and with laboratory work in acquiring knowledge of a science.
=Art history as a means of inculcating principles of art=
Next, consider art history as a means of inculcating the principles of art. It is evident that the emotions or feelings of the artist and the methods he employs to express them may be studied in such masterpieces as the _Hermes_ of Praxiteles and the _Lincoln_ of St. Gaudens. In either he may observe the application of the principles of balance, ma.s.s, repose, harmony, and the a.n.a.lysis of character. In either he may study the technique which involves the material of the statues, the tools employed, and the manner of working.
There is, however, great advantage in considering such examples in their place in the evolution of art, and their significance in their relation to the social and political development of the human race--in other words, in studying systematically the history and development of art.
Instruction in history of art is not without its pitfalls. It is too apt to lapse into a mere listing of names and dates of artists and their work, with the introduction of interesting biographical details and some discussion limited to the subjects treated in selected examples. It is often too much concerned with _who_, _when_, and _where_ and not sufficiently with _why_ and _how_. A person may possess a large fund of the facts of art history and yet have but little understanding or appreciation of the aims and underlying principles of art production. It should never be forgotten that for the college student the history of art is merely a convenient scheme or system upon which to base discussions of the principles of art as involved in the works themselves, an outline for the study of the artistic affiliations of any artist with the great company of his antecedents, his contemporaries, and his successors. The instructor should never regard practice or history as ends in themselves, but as means to the development of the understanding.
=Years in which art courses should be offered=
In some colleges only the more advanced students are permitted to take art courses. It does not seem wise thus to limit the years in which courses may be taken. An elementary course should be offered in the freshman year, while other courses of increasing difficulty should be offered in each of the succeeding years. The greatest variety is seen in the colleges throughout the country in the amount of art taught, and the amount of credit given toward the A.B. degree. When the subject is elected as a "minor," it should be one-tenth to one-eighth of all the work undertaken by a candidate for the bachelor"s degree; while a "major" elective usually should cover from one-fifth to one-fourth of all the work of a candidate for the same degree. Some zealous advocates maintain that a certain amount of art training should be required for graduation. Valuable as art training would be to every graduate, it does not seem wise to make art a required subject in the curriculum. To compel men and women to study art against their will would destroy much of the charm of the subject both for the teacher and the student. Unless the subject is pursued with enthusiasm by both, it loses its value.
=Organization and content of courses in art=
The courses suggested are as follows:
_Course I_ (_Freshman year_). Introduction to the study of art. A study of the various forms of artistic expression, together with the principles which govern those forms. The study would be carried on (1) by means of lectures, (2) by discussions led by the instructor and carried on by members of the cla.s.s, (3) by laboratory or studio practice in the application of the principles of art expression to graded problems in design, (4) by collateral reading, (5) by the occasional writing of themes and reports, (6) by excursions to art collections (public and private), artists" studios, and craft shops.
Some of the topics for lectures and discussion would be: Primitive art and the factors which control its rise and development; principles of harmony; design in the various arts; an outline study of historic ornament; composition in architecture, painting, and sculpture; concept in art, with a study of examples drawn from the master works of all ages; processes in the artistic crafts; application of the principles of design to room decoration.
The studio or laboratory work would include: Application of the principles of design; s.p.a.cing of lines and spots; borders and all-over designs achieved by repet.i.tion of various units; studies in symmetry and balance; color study, including hue, value, intensity; exercises in color harmony; problems in form and proportions, decoration of given geometrical areas; applications to practical uses; studies in form and color from still life; use of charcoal, brush, pastel, water color; simple exercises in pictorial composition; problems in simplification necessitated by technique; application of principles of design to room decoration. (This course would be prerequisite for all subsequent courses in practice.)
_Course II_ (_Soph.o.m.ore year_). A general course in the history of art. A consideration of the development of the arts of architecture, sculpture, and painting from prehistoric periods to recent times. In this course emphasis would be laid upon the periods of higher attainments in artistic expression, and the discussions would be directed toward the qualities of great masterpieces rather than toward those of the mult.i.tude of lesser works.
The work would be carried on (1) by means of lectures; (2) by discussions led by the instructor and carried on by members of the cla.s.s; (3) by collateral reading; (4) by study of original works of art, photographs, and other forms of reproduction; (5) by the writing of themes and reports; (6) by visits to art galleries and artists"
studios. (This course would be prerequisite for subsequent courses in history, etc.)
Following these two general courses there should be two groups of courses: _Group A, Practice courses_; _Group B, History courses_.
Candidates for the A.B. degree who expect to take postgraduate work in creative art or in the teaching of creative art would elect chiefly from Group A. Lay students who are candidates for the A.B. degree and who expect to make writing or criticism in art, or teaching of art to lay students, or art museum work their vocation, would elect chiefly from Group B; as would, also, those composing the greater number, who study art as one means of acquiring general culture.
In the following lists of courses the grade of each course is indicated by a roman numeral placed after the t.i.tle of the course, the indications being as follows:
I. Elementary (primarily for freshmen and soph.o.m.ores).
II. Intermediate (primarily for soph.o.m.ores and juniors).
III. Advanced (primarily for juniors and seniors).
IV. Graduate (primarily for seniors and graduates).
Beyond these indications no attempt is here made to prescribe the subdivisions of the courses, nor the number of hours per week, nor the number of weeks per year in each course.
GROUP A: PRACTICE COURSES
A1 _Freehand Drawing._ (I) Drawing in charcoal and pencil from simple objects, plaster casts, still life, etc. Elements of perspective with elementary problems.
A2 _Freehand Drawing_ (_continued_). (II) Drawing in charcoal, pencil, pen and ink, brush (monochrome in water color) from plaster casts, still life and the costumed figure. Out-of-door sketching.
A3 _Color_ (Water Color or Oil Color). (II) Drawing in color from still life and the costumed figure. Out-of-door sketching.
A4 _Modeling._ (III) Modeling in clay from casts of antique sculpture and of architectural ornament as an aid to the study of form and proportion.
A5 _Advanced Design._ (III) Theory and practice. (Continuation of Course I. Introduction to the study of art.)
A6, A7, ... etc. _Advanced Courses in Drawing, Painting, Modeling, and Applied Design_ (IV) selected from the following: Studies in various media from life. Composition. Ill.u.s.tration. Portrait work. Practical work in pottery, bookbinding, enameling, metal work, interior decoration, wood carving, engraving, etching. These courses would be supplemented by lectures on the theory and principles of art. Topics of such lectures would be: Theory of Design, Composition, Technique of the Various Arts, Artistic Anatomy, Perspective, Shades and Shadows, etc.
GROUP B: HISTORY COURSES
B1_ History of Ancient Art._ (II)
B2 _History of Roman and Medieval Art._ (II)
B3 _History of Renaissance Art in Italy._ (III)