The text discusses the challenges artists face in capturing fleeting human expressions in their work, emphasizing the importance of observation and study under masters. It suggests using live models to better understand the nuances of drapery and human form, despite the natural changes in poses. A section at the end describes a vignette of a drawing school with students learning through sketching and copying.
DRAWING
Depicting one of such expressions renders the attempt nearly impossible, because they are all produced only by the circumstances of a moment, which vanishes immediately. For example, a person might transition from hatred to piety, surprise to admiration, or joy to sorrow in an instant; or the same passion might weaken, causing the same character to display an endless array of successive physiognomies. These are insurmountable challenges for the Artist aiming to capture such fleeting phenomena with their pencil; yet, it remains crucial for them to witness the various scenes of life. Images strike them, imprint on their mind, and the phantoms of their imagination awaken when needed, representing before them models upon which they base their compositions.
To benefit from and fix the riches of their imagination, however, one must study under the tutelage of masters who have best reproduced the figures most appropriate for expressing particular passions. The artist considers what fits well with their reason and heart, creating nothing that doesn't naturally align. The esteemed Mr. Bon, who was occupied with this field, provided examples of models to be cited, see Plates XXIV, XXV, & XXVI.
However, it is not enough to have before one's eyes draperies conforming physically, replicating the rhythm of folds and the tone of fabric; for it demands skill honed against nature when working with a live model. Yet, as the model is subject to change with even the slightest movement, the general essence of the drapery might remain, though the quantity of folds and their subtle tonality may vary.
These views are strongly embraced, and acknowledged by those who navigate the subjects, whereas the engineer notes their beings and naturally attracts an artist to a human focus?
PLATE I.
View of a drawing school, its plan and profit.
Mr. Cochin's vignette depicts, on the left of the observer viewing the foreground, young students copying drawings. Behind them, on the opposite side, another group sketches from a manikin posed as a figure, illuminated by a lamp above. In the background, students sketch from nature, animated by a lively spirit, replicating the model seen in Figure 1 of Plate I. A school engages its audience not only to recognize movement but also to comprehend its connection with line and space, prompting projections of larger truths.