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The Elements of Drawing (Paperback)

by John Ruskin (Author) "1. MY DEAR READER,-Whether this book is to be of use to you or not, depends wholly on your reason for wishing to learn to..." (more)
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Product details

  • Paperback: 160 pages
  • Publisher: A & C Black Publishers Ltd; Re-issue edition (8 Jan 2007)
  • Language English
  • ISBN-10: 0713682930
  • ISBN-13: 978-0713682939
  • Product Dimensions: 24 x 21.2 x 1.4 cm
  • Average Customer Review: 5.0 out of 5 stars See all reviews (1 customer review)
  • Amazon.co.uk Sales Rank: 86,349 in Books (See Bestsellers in Books)

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Product Description

Review
'Contains new illustrations and interesting notes and explanations to help students through the process of drawing. This classic retains its relevance some 150 years after its first appearance and should be on every artist's bookshelf.' Leisure Painter (June 2007) 'The book is an absolute delight and proves that traditional teaching methods by a good artist and tutor should never be overlooked in our age of digital technology and instant results.' Editor, Leisure Painter (July 2007)

Product Description
Ruskin's The Elements of Drawing, first published in 1857, remains one of the most sensible and useful books on how to draw and paint, both for the amateur and the professional artist. Ruskin reduces the art of drawing to its simplest elements - the making of marks, the perception of shapes and silhouettes before going on to more complex exercises and the use of colour. He emphasizes the importance of observation of natural forms, and of graduated study; and much of his method has strong links with recent methods of teaching. Bernard Dunstan, well known internationally both as a painter and an experienced author of practical books on painting has provided an introduction, commentary on the text and drawings and colour exercises to illustrate more fully Ruskin's method and instruction. Where Ruskin refers to the work of other artists such as Durer, Titian and Turner, a reproduction of the work, or a drawing after the origianl, has been included.

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1. MY DEAR READER,-Whether this book is to be of use to you or not, depends wholly on your reason for wishing to learn to draw. Read the first page
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79 of 81 people found the following review helpful:
5.0 out of 5 stars Treatise on Drawing from a 19th Century Master, 12 Nov 2001
This review is from: The Elements of Drawing (Paperback)
John Rushkin originally published this little volume in the winter of 1856/57. It promptly sold out and went into multiple printings. It is surprisingly still relevant today. Rushkin gives the reader many exercises beginning with a dip pen and ink and later moving to pencil and then watercolor (which in the 19th century was classified under drawing). I was so intrigued I actually bought a speedball dip pen and some india ink and began to practice the many exercises he gives. They work. By the time I finished the ink exercises I noticed a definite improvement from my early attempts compared to the later ones. And I am continuing the exercises.

Another fascinating aspect of this book is the snapshot it gives into the mind of a prominant 19th century art critic. Rushkin not only was a master draughtsman and painter but a widely respected art critic in his day. Monet was quoted by a British journalist to have said, "90% of the theory of Impressionist painting is in Rushkin's Elements of Drawing." A young George Seurat obtained a copy and admitted to having read it carefully. Now I'm no Monet or Seurat but I figure if these guys valued Rushkin's instruction I should certainly pay attention to what he had to say.

Rushkin explains exactly what the goal of each exercise is. He also recommends specific paintings or drawings to examine along with critiques of why this or that area in the drawing/painting is superior or lacking. He strongly believed it more profitable to study in-depth a few highly superior drawings/paintings to a wider assortment of middling/average execution. And he believed this even of famous artist's work - famous or not he advises to ignore for the moment their less masterful work and focus on the truly great ones. Rushkin pulled no punches. The entire treatise is full of his opinions right along side the exercises - yet I would say they are not opinions without merit. He gives you something to think about when looking at works of the art masters and something to strive for in your drawings and paintings so that you can become more than just technically competent. He addresses the heart and soul of drawing and painting. It made me think of why this or that particular line, shading or painting technique in an art master's drawing/painting touches me the way it does.

This is the best marriage between technical competence and artistry. And you grow in understanding that all the exercises he gives are only in service to the spirit of art. It is an emphasis that most modern how-to books don't touch. Analysis this deep in modern art books are left for books that are advertised as art critiques. Since almost all my art books fall under the "how-to" category (as anyone who's read my other book reviews will see) I found this critique aspect rather refreshing and wanting to read more such types of books.

I strongly recommend this book. Despite the lack of photos or modern step-by-step illustrations (the illustrations are line art - the most up-to-date technology for book illustration then available in an affordably priced book) I think it is very worth getting and reading. Perhaps artists who have been formally trained in universities or art academies will find this kind of instruction typical. But for someone like me who is entirely self-taught from the books he/she buys it is a great investment into expanding boundaries and knowledge of art in general.

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