XXI CONCLUSION

Mechanical invention, mechanical knowledge, and even a mechanical theory of the universe, have so influenced the average modern mind, that it has been thought necessary in the foregoing pages to speak out strongly against the idea of a mechanical standard of accuracy in artistic¹ drawing. If there were such a standard, the photographic camera would serve our purpose well enough. And, considering how largely this idea is held, one need not be surprised that some painters use the camera; indeed, the wonder is that they do not use it more, as it gives in some perfection the mechanical accuracy which is all they seem to aim at in their work. There may be times when the camera can be of use to artists, but only to those who are thoroughly² competent to do without it—to those who can look, as it were, through the photograph and draw from it with the same freedom and spontaneity with which they would draw from nature, thus avoiding its dead mechanical accuracy, which is a very difficult thing to do. But the camera is a convenience to be avoided by the student.

Now, although it has been necessary to insist strongly on the difference between phenomena³ mechanically recorded and the records of a living individual consciousness, I should be very sorry if 287anything said should lead students to assume that a loose and careless manner of study was in any way advocated. The training of his eye and hand to the most painstaking⁴ accuracy of observation and record must be the student's aim for many years. The variations on mechanical accuracy in the work of a fine draughtsman need not be, and seldom are, conscious variations. Mechanical accuracy is a much easier thing to accomplish than accuracy to the subtle perceptions of the artist. And he who cannot draw with great precision the ordinary cold aspect of things cannot hope to catch the fleeting⁵ aspect of his finer vision.

Those artists who can only draw in some weird⁶ fashion remote from nature may produce work of some interest; but they are too much at the mercy of a natural trick of hand to hope to be more than interesting curiosities in art.

The object of your training in drawing should be to develop to the uttermost the observation of form and all that it signifies, and your powers of accurately⁷ portraying⁸ this on paper.

Unflinching honesty must be observed in all your studies. It is only then that the "you" in you will eventually find expression in your work. And it is this personal quality, this recording⁹ of the impressions of life as felt by a conscious individual that is the very essence of distinction in art.

The "seeking after originality¹⁰" so much advocated would be better put "seeking for sincerity¹¹." Seeking for originality usually resolves itself into running after any peculiarity¹² in manner that the changing fashions of a restless age may throw up. One of the most original men who ever lived did not trouble to invent the plots of more than three 288or four of his plays, but was content to take the hackneyed work of his time as the vehicle through which to pour the rich treasures of his vision of life. And wrote:

"What custom wills in all things do you do it."

Individual style will come to you naturally as you become more conscious of what it is you wish to express. There are two kinds of insincerity in style, the employment of a ready-made conventional manner that is not understood and that does not fit the matter; and the running after and laboriously¹³ seeking an original manner when no original matter exists. Good style depends on a clear idea of what it is you wish to do; it is the shortest means to the end aimed at, the most apt manner of conveying that personal "something" that is in all good work. "The style is the man," as Flaubert says. The splendour and value of your style will depend on the splendour and value of the mental vision inspired in you, that you seek to convey; on the quality of the man, in other words. And this is not a matter where direct teaching can help you, but rests between your own consciousness and those higher powers that move it.

1 artistic   

adj.艺术(家)的，美术(家)的；善于艺术创作的

参考例句：

• The picture on this screen is a good artistic work.这屏风上的画是件很好的艺术品。
• These artistic handicrafts are very popular with foreign friends.外国朋友很喜欢这些美术工艺品。

2 thoroughly   

adv.完全地，彻底地，十足地

参考例句：

• The soil must be thoroughly turned over before planting.一定要先把土地深翻一遍再下种。
• The soldiers have been thoroughly instructed in the care of their weapons.士兵们都系统地接受过保护武器的训练。

3 phenomena   

n.现象

参考例句：

• Ade couldn't relate the phenomena with any theory he knew.艾德无法用他所知道的任何理论来解释这种现象。
• The object of these experiments was to find the connection,if any,between the two phenomena.这些实验的目的就是探索这两种现象之间的联系，如果存在着任何联系的话。

4 painstaking   

adj.苦干的；艰苦的，费力的，刻苦的

参考例句：

• She is not very clever but she is painstaking.她并不很聪明，但肯下苦功夫。
• Through years of our painstaking efforts,we have at last achieved what we have today.大家经过多少年的努力，才取得今天的成绩。

5 fleeting   

adj.短暂的，飞逝的

参考例句：

• The girls caught only a fleeting glimpse of the driver.女孩们只匆匆瞥了一眼司机。
• Knowing the life fleeting,she set herself to enjoy if as best as she could.她知道这种日子转瞬即逝，于是让自已尽情地享受。

6 weird   

adj.古怪的，离奇的；怪诞的，神秘而可怕的

参考例句：

• From his weird behaviour,he seems a bit of an oddity.从他不寻常的行为看来，他好像有点怪。
• His weird clothes really gas me.他的怪衣裳简直笑死人。

7 accurately   

adv.准确地，精确地

参考例句：

• It is hard to hit the ball accurately.准确地击中球很难。
• Now scientists can forecast the weather accurately.现在科学家们能准确地预报天气。

8 portraying   

v.画像( portray的现在分词 )；描述；描绘；描画

参考例句：

• The artist has succeeded in portraying my father to the life. 那位画家把我的父亲画得惟妙惟肖。 来自《简明英汉词典》
• Ding Ling was good at portraying figures through careful and refined description of human psychology. 《莎菲女士的日记》是丁玲的成名作，曾引起强烈的社会反响。 来自汉英文学 - 中国现代小说

9 recording   

n.录音，记录

参考例句：

• How long will the recording of the song take?录下这首歌得花多少时间？
• I want to play you a recording of the rehearsal.我想给你放一下彩排的录像。

10 originality   

n.创造力，独创性；新颖

参考例句：

• The name of the game in pop music is originality.流行音乐的本质是独创性。
• He displayed an originality amounting almost to genius.他显示出近乎天才的创造性。

11 sincerity   

n.真诚，诚意；真实

参考例句：

• His sincerity added much more authority to the story.他的真诚更增加了故事的说服力。
• He tried hard to satisfy me of his sincerity.他竭力让我了解他的诚意。

12 peculiarity   

n.独特性，特色；特殊的东西；怪癖

参考例句：

• Each country has its own peculiarity.每个国家都有自己的独特之处。
• The peculiarity of this shop is its day and nigth service.这家商店的特点是昼夜服务。

13 laboriously   

adv.艰苦地；费力地；辛勤地；（文体等）佶屈聱牙地

参考例句：

• She is tracing laboriously now. 她正在费力地写。 来自《简明英汉词典》
• She is laboriously copying out an old manuscript. 她正在费劲地抄出一份旧的手稿。 来自辞典例句