- 174 pages
- English
- ePUB (mobile friendly)
- Available on iOS & Android
About this book
This study uncovers the plethora of new, innovative drawing strategies that shaped French visual arts at the height of France's imperial power.
Horace Lecoq de Boisbaudran, Eugene Guillaume, and Félix Ravaisson, among others, designed new drawing procedures that responded to leading concerns of modern art and the exigencies of modern life: landscape painting and picturesque tourism, industrial design, and the use of drawing as vehicles of knowledge production and in social control. From graphic regimes that were "purement mathématique" and demanded the practice of orthographic projection, to those that privileged the articulation of proportions and the cultivation of an internal measuring system, fin de siÚcle educators in the fine and applied arts radically transformed drawing strategies and its history. The shifting parameters of drawing pedagogy and practice unfold onto a wider set of theoretical concerns central to humanistic inquiry and art-making today: the philosophy and cultural history of habit-based learning, the relation between industrialization and drawing, and the relation between art and mathematics.
The book will be of interest to scholars working in art history, French studies, history of art education, history of philosophy, and history of science.
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Information
Table of contents
- Cover Page
- Half-Title Page
- Series Page
- Title Page
- Copyright Page
- Contents
- List of figures
- Acknowledgements
- Introduction: Learning to Draw in Mid-to-Late Nineteenth-Century France
- 1 The Problem of Habit
- 2 Horace Lecoq De Boisbaudran's System of Visual Memory Training: Plotting Points, Hand-Eye Coordination, and Memorized Metrics
- 3 Designing Compulsory Drawing Education and the Problem of âMechanicalâ Image-Making
- 4 Drawing Education in a Globalizing Era: FĂ©lix RĂ©gamey and National Art Instruction
- References
- Index