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On Drawing Trees and Nature: A Classic Victorian Manual
This classic of art instruction is the work of James Duffield Harding (1798-1863), who served as drawing master and sketching companion to the great Victorian art critic, John Ruskin. Generations of students have benefited from the teachings of this 19th-century master, who sought always to "produce as near a likeness to Nature, in every respect, as the instrument, or material employed, will admit of; not so much by bona fide imitation, as by reviving in the mind those ideas which are awakened by a contemplation of Nature . . . The renewal of those feelings constitutes the true purpose of Art."
This volume consists of direct reproductions of Harding's sketches of vignettes from natural settings. Each is accompanied by a series of lessons emphasizing both practical and theoretical considerations. The edition features the added attraction of 23 outstanding plates from the author's Lessons on Trees.
This volume consists of direct reproductions of Harding's sketches of vignettes from natural settings. Each is accompanied by a series of lessons emphasizing both practical and theoretical considerations. The edition features the added attraction of 23 outstanding plates from the author's Lessons on Trees.
- GenresArtDrawingNonfiction
160 pages, Paperback
First published August 4, 2005
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Displaying 1 - 2 of 2 reviews
October 5, 2024
I read On Drawing Trees and Nature by J.D. Harding because I want to back up my art study and practice with the basics, or what Harding calls the principles of art that one learns with the simplest of tools, white paper, pencil, or chalk. Originally published in 1847, the book's language is difficult to decipher, but with patience and rereading passages, the reader will find useful information for improving one's art practice.
Harding was a prolific British artist and teacher of the 19th century. His premise throughout the book is an emphasis on truth. Art must be true to nature, and an artist achieves truth through diligent observation, comparison, reflection, and imitation. Imitation must include the feeling associated with the subject as well as the physical characteristics.
Harding also asserts that quality art is the result of much study and practice and is not the result of innate talent. He encourages students to copy and imitate repeatedly until the skills are mastered and one can draw from memory. (I now feel better about all the Youtube tutorials I've done.)
This book focuses on drawing trees by practicing the parts–stem, branches, foliage--separately, then putting them together to create the whole tree. Each type of tree must be studied and practiced to capture the unique characteristics of each type of tree--maple, birch, oak, pine, for example.
After reading this book (which I did slowly and deeply because of the language) I feel better equipped to study works of art to look for examples of outline, shade, and shadow as Harding described. Is there roundness and flexibility in the foliage? Is the gradation imperceptible? Does the shade retire? Having this knowledge of drawing trees will improve my own attempts at creating art and critiquing art.
The book is organized in nine chapters, beginning with general remarks about the principles of art and leading up to specific lessons on drawing foliage, stems, branches, and foregrounds. The narrative is full of Harding's sometimes sharp opinions about art and drawing. However, embedded within the heavy text are also clear instructions to guide the beginning art student to better drawings. (For example, the shadow cast by an object blocking the light is darker than the shade on that object.) The Appendix contains helpful advice about drawing tools and paper.
I read an e-book version from my local library, and one frustrating feature was the incorrect links to the plates and examples. Much of the narrative would have been better understood if I had easy access to the plates and examples Harding referenced in the text because he often compared them to make a point.
Many readers won't have the patience to slog through this book, but if they skip over the laborious parts and scan for the true nuggets, they'll end up with a few pages of useful notes to use as reference when practicing drawing. And to become better, one must practice.
“It is enough, by way of answer, to recall the well-known anecdote of Sir Joshua Reynolds, who, when one of his sitters paid for his picture, and observed it was for three hours’ work, he replied, ‘No, Sir, it is for the work of thirty years.”
Harding was a prolific British artist and teacher of the 19th century. His premise throughout the book is an emphasis on truth. Art must be true to nature, and an artist achieves truth through diligent observation, comparison, reflection, and imitation. Imitation must include the feeling associated with the subject as well as the physical characteristics.
Harding also asserts that quality art is the result of much study and practice and is not the result of innate talent. He encourages students to copy and imitate repeatedly until the skills are mastered and one can draw from memory. (I now feel better about all the Youtube tutorials I've done.)
This book focuses on drawing trees by practicing the parts–stem, branches, foliage--separately, then putting them together to create the whole tree. Each type of tree must be studied and practiced to capture the unique characteristics of each type of tree--maple, birch, oak, pine, for example.
After reading this book (which I did slowly and deeply because of the language) I feel better equipped to study works of art to look for examples of outline, shade, and shadow as Harding described. Is there roundness and flexibility in the foliage? Is the gradation imperceptible? Does the shade retire? Having this knowledge of drawing trees will improve my own attempts at creating art and critiquing art.
The book is organized in nine chapters, beginning with general remarks about the principles of art and leading up to specific lessons on drawing foliage, stems, branches, and foregrounds. The narrative is full of Harding's sometimes sharp opinions about art and drawing. However, embedded within the heavy text are also clear instructions to guide the beginning art student to better drawings. (For example, the shadow cast by an object blocking the light is darker than the shade on that object.) The Appendix contains helpful advice about drawing tools and paper.
I read an e-book version from my local library, and one frustrating feature was the incorrect links to the plates and examples. Much of the narrative would have been better understood if I had easy access to the plates and examples Harding referenced in the text because he often compared them to make a point.
Many readers won't have the patience to slog through this book, but if they skip over the laborious parts and scan for the true nuggets, they'll end up with a few pages of useful notes to use as reference when practicing drawing. And to become better, one must practice.
“It is enough, by way of answer, to recall the well-known anecdote of Sir Joshua Reynolds, who, when one of his sitters paid for his picture, and observed it was for three hours’ work, he replied, ‘No, Sir, it is for the work of thirty years.”
December 9, 2015
The old english and writing style makes this rather tedious to read but once you push through that you'll find that this book has a lot of great information on technique.
Displaying 1 - 2 of 2 reviews