Line (art)

“ Numbers and lines have many charms, unseen by vulgar eyes, and only discovered to the unwearied and respectful sons of Art. In features the serpentine line (who starts not at the name) produces beauty and love; and in numbers, high powers, and humble roots, give soft delight. ”

“ They are not the determining and fundamental characteristics of verse—those have already been discussed—but rather its sources of incremental beauty, of richness and, subtle power. To draw an illustration from another art, they add light and shadow, fullness, roundness, depth of perspective, vividness, to what would else be simple line-drawing. ”

“ The power of condensed expression—the faculty of giving vent to "thoughts that breathe in words that burn"—the art of painting, by a line, an epithet, an expression, the inmost and most intense feelings of the heart, is equally indispensable. ”

“ IT IS difficult for the amateur to realize the value of a line as fully as the art student realizes it. We give an illustration of the first laying in or placing of a figure, as done in the Parisian art schools. The student who works for months and months in this manner sees a meaning in an artist’s lines that the casual observer misses. ”

“ If you look at a line drawing of a figure by a great master, it suggests to you, in a certain limited way, the real thing, for the lines bound spaces, hence there is a suggestion of the solid figure. With almost any medium, even with pen, ink, and paper, an artist will often draw a subject in outline, to see “how it will come.” ”

“ First, the theory, often called "hedonistic," that the value of art consists in the satisfactions of sense which the media of aesthetic expression afford—the delight in color and sound and rhythmical movement of line and form. ”

“ Naturally man tended to lose his sense of scale and relation. A straight line, or a combination of straight lines, may have still a sort of artistic unity, but what can be done in art with a series of negative symbols? Even if the negative were continuous, the artist might express at least a negation; ”

“ If its sum of beauty—its line of lines, the facial angle, must be destroyed—as it undoubtedly must,—before it can be used for the general purposes of art, then its claims over early mediæval art, in respect of form, are small indeed. ”

“ What is art, But life upon the larger scale, the higher, When, graduating up in a spiral line Of still expanding and ascending gyres, [177] It pushes toward the intense significance Of all things, hungry for the Infinite? Art’s life,—and where we live, we suffer and toil.’
He seemed to sift me with his painful eyes. ”

“ He chooses an appropriate stanza for his poem, discovers an unguessed power in some common measure, makes the words hurry or deliberately holds them back, varying the tempo with the spirit of the words, gives the pattern an unusual twist when the idea is unusual, startles or soothes by the sound as well as by the intellectual content of his lines—and accomplishes all these metrical nuances, not with the whip-snapping of the ring-master, but with the consummate art that conceals art. ”

“ It is worth while to look at this picture for a moment, without thinking of its meaning, and indeed without paying much attention to the beauty of the figures, just to see how this great painter has managed the lines and masses of the work. In art, lines [86] and masses and color are not unlike what words and sentences and what we call style are in literature. Even if a writer has good and beautiful ideas, much of the pleasure we might derive is lost when the words are ill chosen, the sentences are bungling, perhaps even ungrammatical, and the whole expression is commonplace or confusing. ”

“ This triple mode of seizing on reality offers art the well-known division into first, the plastic arts, which elaborate their content for vision in the external form and colour of objects, secondly, in the art of sound, music, and thirdly, into poetry, which as the art of speech uses tone merely as a symbol, in order, by means of it, to address itself directly to what is ideal in the contemplation, emotion, and imagination of our spiritual life. ”

“ That the mere matter of a poem, for instance, its subject, namely, its given incidents or situation—that the mere matter of a picture, the actual circumstances of an event, the actual topography of a landscape—should be nothing without the form, the spirit, of the handling, that this form, this mode of handling, should become an end in itself, should penetrate every part of the matter: this is what all art constantly strives after, and achieves in different degrees. ”

“ Yet for all that metre or rhyme is an essential demand of poetry, bringing, as it were, a perfume of its own to the senses; nay, it is even more essential than a richly imaginative and so-called beautiful diction.
And in truth the artistic elaboration of this sensuous medium [14] unfolds to us—it is the very demand of the art itself—another realm, another field, which we only really enter after having left behind us the prose of ordinary life, whether viewed as action or as literary composition. ”

“ The expression must be ordered, rhythmic, or whatever word most fitly conveys the idea of those powers, conscious or unconscious, that select and arrange the sensuous material of art, so as to make the most telling impression, by bringing it into relation with our innate sense of harmony. ”

“ Yet, in spite of this intricacy, the poem has the clear ring of a central motive. We receive from it the impression of one imaginative tone, of a single creative act.
To produce such effects at all requires all the resources of painting, with its power of indirect expression, of subordinate but significant detail, its atmosphere, its foregrounds and backgrounds. To produce them in a pre-eminent degree requires all the resources of poetry, language in its most purged form, its remote associations and suggestions, its double and treble lights. These appliances sculpture cannot command. ”

“ We are not going to quarrel with the technique of the painters, any more than with their handwriting; if it is clear and legibly conveys the message and satisfies eye and heart, we want to help to an understanding and appreciation of their thought and their art. If it rings true, beauty of style, texture, color, and sentiment will come to the surface and art is manifested. ”

“ Don't burden a line drawing with heavy half tones and shadows; keep them light. The beauty that is the particular province of line drawing is the beauty of contours, and this is marred by heavy light and shade. Great draughtsmen use only just enough to express the form, but never to attempt the expression of tone. ”

“ To give the phrase, the sentence, the structural member, the entire composition, song, or essay, a similar unity with its subject and with itself:—style is in the right way when it tends towards that. All depends upon the original unity, the vital wholeness and identity, of the initiatory apprehension or view. So much is true of all art, which therefore requires always its logic, its comprehensive reason—insight, foresight, retrospect, in simultaneous action—true, most of all, of the literary art, as being of all the arts most closely cognate to the abstract intelligence. ”

“ By the originality and vigour of the spiritual life and of the emotion of which the work is an expression, together with its power of impressing these characteristics on the reader. All art is the expression of some emotion, and has for its object the production of emotions. The deeper a signet gem is cut, the sharper, the clearer are the outlines in wax. The deeper the impression in the soul of the artist, the clearer, the more forcible is its artistic expression. ”

“ Style, the Latin name for an iron pen, has come to designate the art that handles, with ever fresh vitality and wary alacrity, the fluid elements of speech. By a figure, obvious enough, which yet might serve for an epitome of literary method, the most rigid and simplest of instruments has lent its name to the subtlest and most flexible of arts. Thence the application of the word has been extended to arts other than literature, to the whole range of the activities of man. ”

“ Even thus the spirit, immersed in things of sense presented to us by the figurative arts, is still spirit, though diminished in its intellectual clearness and invested with hues not its own. To fashion that alabaster form of art with utmost skill, to make it beautiful, to render it transparent, is the artist's function. ”

“ As in living creatures, the blood, nourishing the body, determines its very contour and external aspect, just so, to his mind, the matter, the basis, in a work of art, imposed, necessarily, the unique, the just expression, the measure, the rhythm—the form in all its characteristics.
If the style be the man, in all the colour and intensity of a veritable apprehension, it will be in a real sense "impersonal." ”

“ Comparing these several manifestations of creative power, we feel ourselves in the grasp of a painter who was essentially a poet, one for whom his art was the medium for expressing before all things thought and passion. ”

“ But, on the other hand, when the power of exact and circumstantial delineation is applied to objects which we are anxiously desirous to see in their proper shape and colours, we have a double source of pleasure, both in the art of the painter, and in the interest which we take in the subject represented. ”

“ Teach you line—the infinite variety of line—the tremendous responsibility of line—the humour—the severity of line. Teach you nature—the goddess from whom all beauty is drawn, and whose lightest touch has more mystery in it than all the creations of man. ”

“ In art, however, there are subtler aspects to the relation between form and content, and these have a unique aesthetic significance. For there, as we know, the elements of the medium, colors and lines and sounds, and the patterns of these, their harmonies and structures and rhythms, are expressive, in a vague way, of feeling; hence, when the artist employs them as embodiments of his ideas, he has to select them, not only as carriers of meaning, but as communications of mood. ”

“ The fact that we divide a work of art into parts, as a poem into scenes, episodes, similes, sentences, or a picture into single figures and objects, background, foreground, etc., may seem to be an objection to this affirmation. ”

“ Here is your great artist, your great exceptional mind groping in the darknesses beneath the surface of life, half apprehending strange elusive things in those profundities, and striving—striving sometimes to the utmost verge of human endeavour—to give that strange unsuspected mystery expression, to shape it, to shadow it in form and wonder of colour, in beautiful rhythms, in phantasies of narrative, in gracious and glowing words. So much in its essential and precious degree is art. Think of what the world must be in the wider vision of the great artist. ”

“ The sound of his lines is moulded into the expression of the sentiment, almost of the very image. They rise or fall, pause or hurry rapidly on, with exquisite art, but without the least trick or affectation, as the occasion seems to require. ”

“ Well, I know what art is in the same way.”
“Yes, but I ask you as a favour to define it for me. A picture is art, a living person is life. We sitting here are life; if we were talking on a stage we should be art. How would you define art?” ”

“ This second purpose is what makes the picture a work of art. And we found that the artist, in order to make his composition give pleasure to our sense of sight, relies upon the pleasure that we derive from repetition and contrast, and upon the instinct that we all have for keeping our balance. The elements of composition, in fact, are repetition and contrast in a state of balance, sometimes with the added charm of rhythm. ”

“ To realise this situation, to define, in a chill and empty atmosphere, the focus where rays, in themselves pale and impotent, unite and begin to burn, the artist may have, indeed, to employ the most cunning detail, to complicate and refine upon thought and passion a thousand-fold. ”

“ Forget not therefore that the principal part of Painting or Drawing after the life consisteth in the truth of the line, as one sayeth in a place that he hath seen the picture of her Majesty in four lines very like, meaning by four lines but the plain lines, as he might as well have said in one line, but best in plain lines without shadowing ”

“ It vexes me to hear people talk so glibly of “feeling,” “expression,” “tone,” and those other easily acquired and inexpensive technicalities of art that make such a fine show in conversations concerning pictures. There is not one man in seventy-five hundred that can tell what a pictured face is intended to express. ”

“ We want to build out of a study of these elements a synthetic view of the nature and function of poetry, and apply our results to some of its newer and more clamant forms. Let us begin with sound. In our first chapter we observed that the medium of an art tends to become expressive in itself,—that in poetry the mere sound and articulation of words, quite apart from anything which they mean, may arouse and communicate feelings. What we have called the primary expressiveness of the medium is nowhere better illustrated than in poetry. ”

“ In other words and as I shall never tire of repeating, the differentiating characteristic of art is that it makes you think back to the shape once that shape has conveyed its message or done its business of calling your attention or exciting your emotions. And the first and foremost problem, for instance of painting, is that of preventing the beholder's eye from being carried, by lines of perspective, outside the frame and even persistently out of the centre of the picture ”