I believe that (irrespective of differences in individual temper and character) the excellence of an artist, as such, depends wholly on refinement of perception, and that it is this, mainly, which a master or a school can teach; so that while powers of invention distinguish man from man, powers of perception distinguish school from school. All great schools enforce delicacy of drawing and subtlety of sight: and the only rule which I have, as yet, found to be without exception respecting art, is that all great art is delicate. I am nearly convinced, that when once we see keenly enough, there is very little difficulty in drawing what we see; but, even supposing that this difficulty be still great, I believe that the sight is a more important thing than the drawing; and I would rather teach drawing that my pupils may learn to love Nature, than teach the looking at Nature that they may learn to draw...

Provides sequential instructions on the principles and techniques for utilizing form-shaping factors, linear structure, and tone as bases for sound draftsmanship and artistic expression.

Timeless work by one of the greatest art critics of all time begins with bare fundamentals and offers brilliant philosophical advice. "The truth behind Ruskin's statements is always clear." — American Artist. 48 illustrations.

Creative Art: Methods and Materials educates readers about a variety of art methods and the ways different civilizations have used them in artistic expression. Each of the fourteen chapters is designed around a specific art method and material, and includes examples of art works and the artists who created them. Students learn about bronze casting, stone carving, clay sculpture, woodcuts and posters, glass work, and installation art. Each method is matched to artists both ancient and modern. Rather than adhering to a standard approach that focuses on white, male, European artists, the book broadens the student's perspective by including often overlooked female artists. Global in approach and comprehensive in coverage of arts forms, representations, and styles throughout history, Creative Art has been developed for sixteen-week courses in art appreciation, or introductory survey courses in art history.

Pure, Frank Reilly method of painting by Reilly's student/class monitor Ralph Garafola. The Canvas Awaits - Fill It"Frank J. Reilly - The Elements of Painting" presents the principles and concepts of the craftsmanship involved in the graphic arts. The guidelines presented here will help students, art teachers and professional painters and designers discover and/or further develop their craft.The book is a must read for both the aspiring painter and accomplished artist - and everyone in between. It also assists art teachers and art schools in the instruction of their students and serves well as a college text book of art.◊◊◊Frank J. Reilly was an American painter, illustrator, muralist and teacher. Reilly served as the Commissioner of Art for New York City. Ralph Garafola studied at the Art Students League of New York for seven years with Reilly. Reilly was married with no children and considered his students family. He became both mentor and father-figure for Garafola."To succeed in the realm of graphic arts, like dancing and music, one must acquire knowledge. By practicing and applying that knowledge, one becomes skillful. It was Reilly's logical application which was the basis for developing my craft. After 65 successful years I have never found reason to change the drawing or painting methodology Reilly taught to me. Now through this book I share it with you."Ralph Garafola, author

A comprehensive and superbly illustrated study that reveals for the first time how drawing was central to the activity of making art for the Pre-Raphaelites. The Pre-Raphaelite Brotherhood was a group of radical young artists who banded together in London in 1848. This book explores the vital role played by drawing and design in the work of the Brotherhood and their associates and followers. Alongside nudes and figure studies are the group’s portraits, self-portraits, and caricatures that were often exchanged as gifts between friends; delicate studies of nature by John Ruskin and John Brett; scenes derived from religious, literary, and medieval sources; captivating studies of the iconic Pre-Raphaelite models Lizzie Siddal and Jane Morris; and original designs for stained glass, textiles, and ceramics. The book explores the full variety of Pre-Raphaelite drawing and demonstrates the impact that it had on turn-of-the-century British art movements such as Aestheticism, Symbolism, and Art Nouveau. Illustrated with the most important Pre-Raphaelite drawings from public and private collections in Britain—including striking works by Dante Gabriel Rossetti, William Holman Hunt, and Edward Burne- Jones that have never before been exhibited or reproduced—it offers an intimate look into the enchanting world of the Pre-Raphaelites.