Chapter XXVI: Part FIVE: The Arts (2)

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 _Analytical_ 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 analytic, 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, mass, 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 prone 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 assume 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 title 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 coöperation 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 assumed 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, mass, repose, harmony, and the analysis 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 class, (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; spacing of lines and spots; borders and all-over designs achieved by repetition 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_ (_Sophomore 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 multitude 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 class; (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 title of the course, the indications being as follows:

I. Elementary (primarily for freshmen and sophomores).
II. Intermediate (primarily for sophomores 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. Illustration. 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)

B4 _History of Modern Art._ (III) History of art in Western Europe during the eighteenth and nineteenth centuries.

B5, B6, ... etc. _History of Special Periods; Consideration of Special Forms of Art, and of Great Masters in Art_ (IV) selected from the following: Art of Primitive Greece, Greek Sculpture, Greek Vases, Early Christian and Byzantine Architecture, History of Mosaic; Medieval Illumination; Sienese Painters of the Thirteenth and Fourteenth Centuries; Florentine Painting; Domestic Architecture of Various Countries; Leonardo da Vinci and His Works; Art of the Netherlands; History of Mural Painting; History and Principles of Engraving; Prints and Their Makers; Chinese and Japanese Art; Colonial Architecture in America; Painting and Sculpture in America, etc., etc.

=Teaching equipment for college courses in art=

No attempt will here be made to comment upon the general furnishing and equipment of lecture rooms, laboratories, and studios. Nevertheless, some reference to the special teaching equipment is necessary for the further consideration of the methods of teaching.

Illustrations are of the greatest importance in the study of art. The best illustrations are original works of art. For manifest reasons these are not usually available in the classroom, and the teacher is dependent upon facsimiles and other reproductions. These take the form of copies, replicas, casts, models, photographs, stereopticon slides, prints in black and white and in color, including the ubiquitous picture postal card.

The collections of public art museums and of private galleries are of great value for illustrative purposes; but of still greater value to the student is the departmental museum, with which, unfortunately, but few colleges are equipped. Some colleges have been saddled by well-meaning donors with collections of various kinds of works of art which are but ill related to the instruction given in the department of art. The collections of the college museum need not be large but they should be selected especially with their instructional purpose in view. The problems of expense debars most colleges from establishing museums of art; but with a modest annual appropriation a working collection can be gradually gathered together. A collection which is the result of gradual growth and of careful consideration will usually be of greater instructional value than one which is acquired at one time.

An institution which owns a few original works of painting, sculpture, and the crafts of representative masters is indeed fortunate, but even institutions whose expenditures for this purpose are slight may possess at least a few original lithographs, engravings, etchings, etc., in its collection of prints.

Fortunately, there are means whereby some of the unobtainable originals of the great public museums and private collections of the world may be represented in the college museums by adequate reproductions. The methods of casting in plaster of Paris, in bronze and other materials; of producing squeezes in papier maché; and of reproducing by the galvano-plastic process, are used for making facsimiles of statues, vases, terra cottas, carved ivories, inscriptions and other forms of incised work, gems, coins, etc., at a cost which, when compared with that of originals, is trivial.[108] Paintings, drawings, engravings, etc., are often admirably reproduced by various photographic and printing processes in color or black and white.

Generally speaking, the most valuable adjunct of the college art museum or of the college art library is the collection of photographs properly classified and filed for ready reference by the instructor or student.

A specially designed museum building would present opportunities for service that would extend beyond the walls of the art department, but if such a building is not available, a single well-lighted room furnished with suitable cabinets and wall cases, and with ample wall space for the display of paintings, prints, charts, etc., would be of great service.

A departmental library of carefully chosen books on the theory, history, and the practice of the various arts, together with current and bound numbers of the best art periodicals of America and of foreign countries, is indispensable.

=Methods of teaching=

Methods will naturally depend somewhat upon the size of the class. In large classes--of, say, more than forty--the lecture method, supplemented by section meetings and conferences, would usually be followed. In the following discussion it is assumed that the classes will not exceed forty.

Under the head of Methods of Teaching are here included: Work in Class and Work outside of Class.

The work in class consists of lectures; discussions by the members of the class; laboratory or studio work; excursions. There is no worse method than that of exclusive lecturing by the instructor. If the methods employed do not induce the student to do his own thinking, they have but little value. Much of the instructor's time will be occupied in devising methods by which the students themselves will contribute to their own and their fellows' advancement.

Discussions led by the instructor and carried on by the members of the class should be frequent. From time to time a separate division of a general topic should be assigned to each member of the class, who will prepare himself to present his part of the topic before the class either by reading a paper or otherwise. Discussions by the members of the class, concluded by the instructor, should generally follow this presentation. Topics for investigation, study, and discussion should be so selected as to require the students to make application of their study to their daily life and environment. In this way their critical interest in the design of public and private buildings, of monuments, and of the innumerable art productions which they see about them would be stimulated.

For the purpose of illustrating lectures and aiding in discussions, prints and photographs may be shown either directly or through the medium of the reflectoscope. Or, they may be transferred to lantern slides and shown by means of the stereopticon. To a limited extent the Lumière color process has been used in preparing slides.

The methods of laboratory and studio work have already been briefly treated under the head of Courses of Instruction, and hardly need to be further amplified here.

It has already been stated that original works of art are the best illustrations, and that these are but rarely available within the walls of the college. Instructors in institutions which are situated within or near to large centers of population can usually supply this deficiency by arranging visits to museums and other places where works of art are preserved and exhibited; and to artists' studios and to workshops where works of art are produced. Instructors in institutions which are not so situated may supply the deficiency, in some measure, by arranging for temporary exhibitions in the museum or other rooms of the department. Rotary exhibitions of paintings, prints, craftwork, sculpture, designs, examples of students' work, etc., may be arranged whereby groups of institutions within convenient distances from each other may share the benefits offered by such exhibitions, as well as the expense of assemblage, transportation, and insurance. In arranging for such temporary exhibitions it is essential that only works of the highest quality, of their kind, should be selected.

Selections can best be made personally by the instructor or by capable and trustworthy agents who are thoroughly informed as to the purpose of the exhibition and as to the needs of the institutions forming the circuits. Such rotary exhibitions possess a wider usefulness than that of serving as illustrative material for the college department of art: they serve also as an artistic stimulus to the members of the college at large, and to the community in which the college is situated.[109]

The work of students outside of class has already been mentioned. It consists of collateral reading, the study of prints and photographs, and the preparation of written themes and reports. Notwithstanding the lavish production of books relating to art, there are but very few that are suitable for use as college textbooks. The instructor will usually assign collateral reading from various authors.

=Testing results of art instruction=

In attempting to measure the success or failure of the work, the teacher must ask himself, What do our college graduates who have taken art courses possess that is lacking in those who have not taken such courses?

The immediate test of the results of the work is in the attitude of mind of the students. Do they think differently about works of art from what they did before entering the courses? Is there a change in their habit of thought? Have they done no more than accept the lessons they have been taught, or have they so absorbed them and made them their own that they are capable of self-expression in making their estimates of works of art? These questions may be answered by the result of the written examination and by the oral quiz.

It must be confessed that the chief purpose of art instruction in the college is to supply a lack in our national and private life. Citizens of the older communities of Europe pass their lives among the accumulated art treasures of past ages. The mere daily contact with such forms of beauty engenders a taste for them. Partly through our Puritan origin, partly through our preoccupation with the development of the material resources of our country, we, as a people, have failed to cultivate some of the imponderable things of the spirit. So far as we have had to do with its creation, our environment in town and village is generally lacking in artistic charm.

The study by lay students of the art of the past has one chief object; namely, to train them to understand the works of the masters in order that they may discriminate between what is beautiful and what is meretricious in the art of the present day; to learn the lessons of art from the monoliths of Egypt, the tawny marbles of ancient Greece, the balanced thrusts of the Gothic cathedral, the gracious and reverent harmonies of the primitives, the delicate handicrafts of the Orient, the splendors of the Renaissance, the vibrant colors of the latest phase of impressionism, and to apply these lessons in the search for hidden elements of beauty in nature and art in their own country and in their own lives and surroundings.

Believing, as he does, in the value of artistic culture, it becomes the duty of the college art instructor to teach with enthusiasm unmarred by prejudice; to cultivate in the minds of his students a catholic receptivity to all that is sincere in artistic expression; to open up avenues of thought in the minds of those whose lives would otherwise be barren of artistic sympathy; to cull the best from the experience of the past, and, by its help, to impart to his hearers some of his own enthusiasm; for their lives cannot fail to touch at some point the borderlands of the magic realm of art.

HOLMES SMITH
_Washington University_

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Footnotes:

[102] Tolstoi, L. N., _What Is Art?_ Thomas Y. Crowell Company, 1899.