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Drawing From Memory: The Cave Method For Learning To Draw From Memory
This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it.
This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.
Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface.
We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.
Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface.
We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
- GenresArt
138 pages, Paperback
First published January 1, 1850
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Displaying 1 - 3 of 3 reviews
December 30, 2020
This book definitely is a forgotten gem. The reason I know that is because I searched for 'cave method' on Youtube and got a lot of Plato bros, and refined it to 'cave method drawing' and got a non-zero amount of videos demonstrating how to draw a cave. (Oh, humanity. Never change.)
Although I mostly understood what Cave was getting at with the transparent gauze, I am left unsure how to set one up for myself. (Hence, Youtube.) A few illustrations or diagrams - from an artist, hello? - would have come in handy. That's my main criticism of this how-to guide. Well, that and her insistence on the inferiority of women and her constant advice to 'stick to the flowers, gals'. Sigh.
From Delacroix's introduction:
"Study the character of a head, try to discover what strikes us at first view."
Fourth Letter:
"[...] become skilful in handling the crayon, until the grain of the shading is perfectly regular, and appears only a uniform tint, without a single crayon stroke predominating, or even showing in what direction they have been given."
I spent aaaaages learning this in a Bargue class. It is so much harder than it looks.
Fifteenth Letter:
"Projections and depressions; that is the substance of drawing. It is a continual combination, the difficulties of which are great enough without creating new ones."
It's passages like this where this book really comes into its own. Not enough is remembered about the technical aspects of drawing these days, and Cave is here to reminds us.
"Be yourself, and seek improvements without ceasing to be yourself, and you will do well."
I love that caveat! It makes a lot more sense than just the first two words.
The idea of using bread as a rubber is definitely one I am going to try.
"In my studio, which is ornamented, the lay figure is always dressed in beautiful costumes, and the pupils are required to render in black the value of each colour. Thus engravings could be made from their studies, so well are the white, green, red, and black understood.
That is undoubtedly much more difficult than to glue a figure upon a chocolate background; it is also more instructive. Better still, it is truly the science of colouring and drawing, which are inseparable one from another."
Hahaha, shade on the Florence School from beyond the grave. (I am pro-Florence in most regards, but it cannot be denied that they LOVE their brown.)
Although I mostly understood what Cave was getting at with the transparent gauze, I am left unsure how to set one up for myself. (Hence, Youtube.) A few illustrations or diagrams - from an artist, hello? - would have come in handy. That's my main criticism of this how-to guide. Well, that and her insistence on the inferiority of women and her constant advice to 'stick to the flowers, gals'. Sigh.
From Delacroix's introduction:
"Study the character of a head, try to discover what strikes us at first view."
Fourth Letter:
"[...] become skilful in handling the crayon, until the grain of the shading is perfectly regular, and appears only a uniform tint, without a single crayon stroke predominating, or even showing in what direction they have been given."
I spent aaaaages learning this in a Bargue class. It is so much harder than it looks.
Fifteenth Letter:
"Projections and depressions; that is the substance of drawing. It is a continual combination, the difficulties of which are great enough without creating new ones."
It's passages like this where this book really comes into its own. Not enough is remembered about the technical aspects of drawing these days, and Cave is here to reminds us.
"Be yourself, and seek improvements without ceasing to be yourself, and you will do well."
I love that caveat! It makes a lot more sense than just the first two words.
The idea of using bread as a rubber is definitely one I am going to try.
"In my studio, which is ornamented, the lay figure is always dressed in beautiful costumes, and the pupils are required to render in black the value of each colour. Thus engravings could be made from their studies, so well are the white, green, red, and black understood.
That is undoubtedly much more difficult than to glue a figure upon a chocolate background; it is also more instructive. Better still, it is truly the science of colouring and drawing, which are inseparable one from another."
Hahaha, shade on the Florence School from beyond the grave. (I am pro-Florence in most regards, but it cannot be denied that they LOVE their brown.)
May 31, 2025
Taken as a book on artistic education, this would be a higher rating. The digressions into antiquated perspectives on gender roles could be accepted as reflections of the time it was written if it wasn't for the fact they served no purpose in the larger goal of the book
May 4, 2022
A refreshing take on the craft of draftsmanship. The approach is definitely a laborious one, but with modern methods it becomes easily doable on a tablet. Excited to give this a try.
Displaying 1 - 3 of 3 reviews