The text discusses the importance of acquiring the habit of copying drawings as a foundational skill in learning to draw. It emphasizes the study of Anatomy and proportions as essential elements in achieving a true representation of forms, especially in human figure drawing. The passage highlights the relationship between Anatomy, which provides structure, and proportions, which contribute beauty, arguing for Anatomy as the starting point in art education, and references a published treatise on perspective for artists.
DRAWING. 99
It is assumed here that the young student has developed the habit of easily copying all sorts of drawings, and this habit, nonetheless, can only enter the study of drawing as a necessary disposition to acquire it.
On the Study of Anatomy, and Proportions.
In this way, the young student should view the imitation of beautiful nature as their goal, and should strive to know the external features of the forms it produces. Thus, beginning with the masterpiece of nature's creations, which is the human being, the young painter must learn about Anatomy and proportions, because these two aspects are the foundation of drawing.
Anatomy establishes the solidity of the body, and proportions form its beauty. Proportions owe their truth of contours to Anatomy, and Anatomy owes the exact regularity of nature in its first intention to proportions. Finally, Anatomy and proportions provide mutual support to refine the drawing into solid and perfect correction.
Regardless of the connection these two elements seem to have with each other, it nevertheless appears that it is best to start with Anatomy because it is the child of nature, and proportion is the child of Art. They are well grouped when applying the rigor of rules, for which a lot of memory and practice is needed. Mr. Jeaurat, grandson of Sébastien le Clerc, has published a "Treatise on Perspective," following the method of this illustrious Artist, with which one may easily learn, without any Master's aid, the fundamental rules of this Art, and to place all kinds of objects in perspective. It is titled "Treatise on Perspective, for Artists' Use," in a quarto volume. In Paris, with L. Cellot, and with Jombert young.