tag:blogger.com,1999:blog-12189014.post3406370970994889432..comments2024-03-18T11:06:05.506-04:00Comments on ILLUSTRATION ART: HENRY PATRICK RALEIGH (1880-1944)David Apatoffhttp://www.blogger.com/profile/11293486149879229016noreply@blogger.comBlogger63125tag:blogger.com,1999:blog-12189014.post-20071720430406214822017-07-25T08:08:04.206-04:002017-07-25T08:08:04.206-04:00Great art!!
I really enjoyed reading this article...Great art!!<br /><br />I really enjoyed reading this article.cheap ribbonshttps://ribbons.cheap/collections/multicolor-metallic-deco-mesh-wrapnoreply@blogger.comtag:blogger.com,1999:blog-12189014.post-66003565450893905182013-06-21T11:21:28.161-04:002013-06-21T11:21:28.161-04:00Thank you for your Blog. I enjoyed/am enjoying thi...Thank you for your Blog. I enjoyed/am enjoying this HP Raleigh cross-chat, and, as I read on (nice several years worth of Art Talk) I knew if I kept at it *someone* would finally remind us lovers of drawn and painted imagery that the work under discussion was all of it done to illustrate a story, an article, advert, etc... Thank you to Chris Raleigh for getting that word so aptly onto the blog: It's a luxury we all share, to be able to hold the art out of its context, to find areas of praise that others in The Art Field would claim there was/is no justification for. We all know different. By adding in the element of Intent, an element that "gallery art" only gains by outside review or artist's statement of purpose, brings focus to the one necessary attribute of any of this art: that it "works"... that it tells a story without taking over the story... that it intrigues a reader or customer into investing their time and interest in the written word or product. There are those who look at a weapon and admire the craftsmanship, the detailing, the design and "poetry" of the object. There are others who will ask "Does it work?". We, as lovers of Illustration, get the best of both those worlds: Not only does the art charm, awe or inspire, it "works"... and HP Raleigh was/is definitely one of the Big Guns.MwKalutahttps://www.blogger.com/profile/11652822264472150615noreply@blogger.comtag:blogger.com,1999:blog-12189014.post-58560388016442456402012-02-16T15:26:34.383-05:002012-02-16T15:26:34.383-05:00THE HENRY RALEIGH ARCHIVE
I have recently publishe...THE HENRY RALEIGH ARCHIVE<br />I have recently published a 110 page book about the history of the artist and his rise to the top of the field of commercial art in the early 1900’s. The book is a full color, large, hard bound table top book and contains hundreds of his illustrations. You can view the entire book and purchase it on line at www.blurb.com. Go to the site's bookstore and type in Henry Raleigh. <br />I have been collecting my grandfather’s illustrations and researching his prolific contribution to the Golden Age of American Illustration since 1989. Over the past 23 years I have amassed the largest known collection of his original artwork. Today "THE HENRY RALEIGH ARCHIVE contains hundreds of original story illustrations, model sketches, concept drawings, engravings, lithographs, newspaper articles, and personal photographs. Additionally, it includes henry's personal scrap books, letters from famous authors, artists, art directors and even a U.S. President. In an attempt to view and understand the progression of Raleigh's work from the teens through the 1930's, I have collected thousands of pages from magazines and books that show his illustrations in print.<br />The ARCHIVE will be posted on the internet in about a month. The web site will be WWW.THE-HENRY-RALEIGH-ARCHIVE.COM<br />I hope that you will enjoy seeing Henry Patrick Raleigh's illustrations and many more stories about his experiences as an artist working for such authors as F. Scott Fitzgerald, Agatha Christie, Stephen Vincent Benet, H. G. Wells, William Faulkner, Sinclair Lewis and Somerset Maugham.Chris Raleighhttp://www.raleighdesign.comnoreply@blogger.comtag:blogger.com,1999:blog-12189014.post-81169816541061785552012-01-07T13:35:19.895-05:002012-01-07T13:35:19.895-05:00You have not approved my last comment but I'd ...You have not approved my last comment but I'd like to draw your attention to a mistake in the profile of HR: As his New York Times obituary states, Henry Patrick Raleigh died in 1945 not 1944. I have also notified the Society of Illustrators and the Illustration House where this information has been mistakenly printed on various materials.ann@experiencebranding.comnoreply@blogger.comtag:blogger.com,1999:blog-12189014.post-47574104739632845202012-01-04T12:22:47.057-05:002012-01-04T12:22:47.057-05:00I am another grandchild of Henry Raleigh by his fi...I am another grandchild of Henry Raleigh by his first marriage to Dorothy Scott Raleigh and I also have a collection of his work. I am presently researching to find the stories that went with the illustrations I have and would really love to connect with other grandchildren who can fill in the pieces of the puzzle in my understanding of the family history. <br />I lost touch with my mother Nora Raleigh (youngest of the first marriage) after my parents were divorced, but what I did know was not a happy picture. Please let me know if you would like to connect for a phone conversation or meeting.Ann O'Danielhttp://experiencebranding.comnoreply@blogger.comtag:blogger.com,1999:blog-12189014.post-69684052912171741992011-09-12T09:51:31.929-04:002011-09-12T09:51:31.929-04:00I happened upon a exhibit of his work at the Maitl...I happened upon a exhibit of his work at the Maitland Art Center in Orlando. The show featured a number of his original illustrations. My first impression was that he was a devotee of Lautrec, the bold contrasts, the out of ordinary view points. The line work seems chaotic but it was that line work that provided the energy to the scene being depicted. I was in awe at his talent.Mike Mhttp://mmalloy.netnoreply@blogger.comtag:blogger.com,1999:blog-12189014.post-56936486083816897672011-05-12T09:49:02.062-04:002011-05-12T09:49:02.062-04:00I am one of the grand-daughters of Henry Raleigh. ...I am one of the grand-daughters of Henry Raleigh. I have a number of his works and love them as they are beautiful but I have no real emotional connection to them. While his first wife and family may have lived well off his success, the stories, if any, I heard of him growing up were not filled with love and admiration- my father, an artist in his own right, did not have a charmed childhood. He did go one to teach but I doubt he would have confided in a student about the death of his father.Anne Reeshttps://www.blogger.com/profile/10100798226251245874noreply@blogger.comtag:blogger.com,1999:blog-12189014.post-36838829539810728152010-11-28T16:57:00.543-05:002010-11-28T16:57:00.543-05:00I am embarrassed that I have only known this artis...I am embarrassed that I have only known this artists work for a couple of years. Now I can't get enough of it. What a wonderful draftsman. Affordable, if you want to collect. <br />John CollierJohn Collierhttps://www.blogger.com/profile/10641757803326129686noreply@blogger.comtag:blogger.com,1999:blog-12189014.post-64978608928222616982010-06-04T11:45:05.877-04:002010-06-04T11:45:05.877-04:00David,
My name is Chris Raleigh. Henry Raleigh wa...David,<br /><br />My name is Chris Raleigh. Henry Raleigh was my grandfather. I am currently writing a book about Henry Raleigh and his work. I have been collecting his artwork for the past 22 years. Today my collection of his original illustrations, etchings, lithographs, sketches and personal letters etc. contains over 300 original items. Additionally, I have collected thousands of examples of his illustrations from period magazines and books. I also am fortunate to have Hank's personal archive of scrap books that contain hundreds of newspaper and magazine articles that were written from 1910 to the 1950's. I never met my grandfather. He died the year before I was born. From the time I was a small child I listened intently to the myriad of stories about my famous grandfather. Contrary to the opinions expressed by Nora raleigh Baskin, I never heard a bad word about Henry from my mother or father. My father was the born in 1914 to Henry's first wife. This was the time of henry's meteoric rise to the top of of his profession. He and his family and ultimately my mother lived quite a charmed life of love, luxury, and world travels that was provided by Henry Raleigh's ability to make a great amount of money as a commercial artist. <br /><br />As far as what I think about the quality of his art or his ability as an artist! I may predigest, but there is no dispute that Henry was a skilled illustrator. <br /><br />Illustration is by definition a commercial form of art. And as such, It does not turly exist in the vacuum of pure expression. You can continue the discussion, on this blog, in great detail about business of line or caotic scratching of lines around the main focal points of the image, but one has to remember that Raleigh's job, as an artist, was to capture the imagination of the viewer and draw them into reading the adjacent story. And to that end, he was extremely successful. During the 1920's 30's and 40's he was in constant demand. Most years he worked only 8 or 9 months and traveled the rest of the time. And, was still able to earn over $100,000. a year during the time of the Depression. He was called the most prolific illustrator of his time. By the time he was 50 years old he had already published over 20,000 illustrations. To further my point I have to quote an article written in Vanity Fair magazine in 1925 by art critic Guy Pene Du Bois. Mr Du Bois states that an illustrator,'s work can not be judged in the same context as a non-commercial drawing or painting. Because a painting is a finished work of art. An illustration that is meant for publication "is not a finished work of work. It is exactly the equivalent of the etcher's plate." The final output is the printed page of the magazine or book. With this in mind Raleigh created a style of drawing that worked with the limitations and capibilities of the printing process being used at the time. As these printing processes became successful at reproducing line,texture and color he adapted and his work became more complex and detailed. There is also another reality at play here. As a commercial artist he worked at various levels of complexity and detail. He developed many styles from simple cartoon like sketches to loose watercolor drawings and very complex layered and tight draftsman like illustrations that consumed a great amount of his time. The use of these various styles were dictated both by the art director of the publication and the fees that were made available to him.Fineartlithonoreply@blogger.comtag:blogger.com,1999:blog-12189014.post-6755840531642337512010-02-08T21:45:00.924-05:002010-02-08T21:45:00.924-05:00Don't forget his stunning work developing at l...Don't forget his stunning work developing at least four World War One Bond Posters such as "Hun or Home?" and "Halt the Hun". My wife and I own the former as a poster and the simplicity combined with the message is achieved only by few artists.Anonymousnoreply@blogger.comtag:blogger.com,1999:blog-12189014.post-64333232451104140892010-02-05T23:51:07.006-05:002010-02-05T23:51:07.006-05:00Nice. This Picture say about The human history.Nice. This Picture say about The human history.Ribbonhttp://www.bbcrafts.com/noreply@blogger.comtag:blogger.com,1999:blog-12189014.post-51199945396868306112010-01-05T07:18:38.778-05:002010-01-05T07:18:38.778-05:00not only great work, goodlooking too.not only great work, goodlooking too.seadude8140https://www.blogger.com/profile/10229249994715723342noreply@blogger.comtag:blogger.com,1999:blog-12189014.post-12039828327051587892009-12-29T16:14:33.682-05:002009-12-29T16:14:33.682-05:00Yes, Pyle formed a dojo to compete with a cross to...Yes, Pyle formed a dojo to compete with a cross town dojo, just like in the Karate Kid.<br /><br />Your confusing the modern system with the old one. The one in which the goal was narrative pictorial illustration art. Cornwell studied at Dunn's dojo, and later worked in the studio(atelier) of a master, Brangwyn.अर्जुनhttps://www.blogger.com/profile/14724439749828805512noreply@blogger.comtag:blogger.com,1999:blog-12189014.post-27005350752029549652009-12-29T15:54:23.013-05:002009-12-29T15:54:23.013-05:00Pyle's school was most definitely not an ateli...Pyle's school was most definitely not an atelier. He didn't like ateliers and formed his school in direct opposition to that idea. Read about it for yourself. The throw-away term "in essence" doesn't quite cut it. His students may or may not have trained for years at an atelier, but it was Pyle's school that really made the difference. That's not my opinion, that's their testimony, and why Pyle is held in such high esteem.<br /><br />If your idea is that the atelier system wasn't responsible for producing those illustrators, then why the verbiage to link them to the atelier tradition?Briannoreply@blogger.comtag:blogger.com,1999:blog-12189014.post-85409380798778573522009-12-29T15:32:54.725-05:002009-12-29T15:32:54.725-05:00"Am I supposed to infer that the ridiculous &..."Am I supposed to infer that the ridiculous "atelier system" is responsible for producing great illustrators?"<br /><br />Such was never implied, as noted the system then was not what it is today. In both cases the results are a product of the age. The point was, what did it mean to Raleigh.<br /><br />Pyle's school in essence was an atelier, and it should be noted that many of his students trained for years at the schools mentioned, before they ever met the man.अर्जुनhttps://www.blogger.com/profile/14724439749828805512noreply@blogger.comtag:blogger.com,1999:blog-12189014.post-65512376848678406222009-12-29T14:02:37.594-05:002009-12-29T14:02:37.594-05:00Am I supposed to infer that the ridiculous "a...Am I supposed to infer that the ridiculous "atelier system" is responsible for producing great illustrators?<br /><br />If that's so, then how to explain the hordes of atelier graduates who did/do nothing special?<br /><br />All an art school can teach is fundamentals, like value scale, measuring (live model), some anatomy, perspective, color theory, and some design. Two years, maybe three tops. After that, you're on your own.<br /><br />The mechanical measuring/copying nonsense taught at ateliers is practically useless for doing anything more than academic studies.<br /><br />Many artists/illustrators rejected it. Dean Cornwell said that academic drawing was useless. Howard Pyle opened his school because he thought that academic training was poor prepartion for a career in illustration. Josepeh Clement Coll never studied at an atelier, and he was one of the best draftsmen I've ever seen. I could go on and on.<br /><br />When I see the atelier copycats do anything truly creative with their so-called "education" (and a super-high priced one at that), I'll eat my shoes.Briannoreply@blogger.comtag:blogger.com,1999:blog-12189014.post-71845504180408390532009-12-29T02:27:31.316-05:002009-12-29T02:27:31.316-05:00The indefinite strokes create a vibration of life,...The indefinite strokes create a vibration of life, the atmosphere of the scene. <br /><br />Atelier, the romantic concept of the masters studio in which all aspects of art production is done in house. Members at various stages preparing canvas' and paint, drawing from casts and models, transferring the masters cartoon and working on the masterpiece, underpainting and finishing the lesser elements. Though most were there for the fencing, boxing, and general <a href="http://www.bildindex.de/bilder/FMLAC11809_31b.jpg" rel="nofollow">horseplay</a>.<br /><br />I don't know the context in which Raleigh referred to the French atelier. Atelier has the amorphous meanings of school-studio-workshop-workplace, though not necessarily art related. <a href="http://www.photo.rmn.fr/cf/htm/CSearchZ.aspx?o=&Total=500&FP=36666146&E=2K1KTS6XLNUQZ&SID=2K1KTS6XLNUQZ&New=T&Pic=476&SubE=2C6NU0VJIS5J" rel="nofollow">atelier de la librairie</a><br /><br />Raleigh probably meant in general the French school. <br /><br />Now what would that mean circa 1910? <br /><br />In 1863 the Ecole des Beaux-Arts was reformed so as to, for the first time, teach painting, which previously had only been done in the private ateliers of various masters. Concurrently private art schools came about, the most popular being the Academie Julian. The set up being six days a week, seven hours a day, painting from life (the figure) draped and undraped. The master would make an appearance twice a week, to make criticisms. These became the model for the newly formed Art Students League of NY and for the reformation of the National Academy of Design, as well as the Pennsylvania Academy of Fine Art and Boston Museum School. So in essence he meant get your ass to the League and get to work!…and seeing that it hasn't changed to this day, what is all the griping about lost possibilities? <br /><br />Now what does that mean for 20th century American illustration art? the "/ " indicates co-teachers of a class.<br /><br />Chicago: via France, J.H. Vanderpoel (Boulanger/Lefebvre), J. Allen St. John (Laurens/Constant), via Belgium, William H. Mosby (?,most belgian artist studied in France)<br />J.C. & Frank Leyendecker studied under Vanderpoel, before going to France (Laurens/Constant), alongside Mucha and Lionel Barrymore! Orson Lowell (Vanderpoel)<br />Mosby taught Gil Elvgren and a number of other Chicago style illustrators, which coincides with the Sundblom creamy look and the then lingering popularity of Anders Zorn as a portraitist in that city.<br /><br />Boston: via France, Paxton (Gerome&?), Benson (Boulanger/Lefebvre), Tarbell(?), etc.etc., via Germany, Decamp (?), not really a illustration town, Mr. Howards, for the record, who were your instructors at the Museum(Normal) School? Former students of Tarbell?<br /><br />Philadelphia: via France, Eakins (Gerome&Bonnat), Anschutz (Eakins&?)<br /><br />New York: via France, DuMond (Boulanger/Lefebvre), Bridgeman (Gerome), via Germany, Chase(Piloty), via Italy, Falanga (<a href="http://www.artnet.com/artist/645712/michele-falanga.html" rel="nofollow">his art</a>) Frazetta studied at his Brooklyn school for 8 years before turning pro.<br />Christy (Chase), Coles Phillips (Chase) and at the ASL of NY DuMond-Bridgeman taught Flagg, Rockwell, E.F. Ward, Reilly, Loomis, Kinstler, Riley etc.etc.<br /><br />Some Reilly students: Peter Max, Leonard Starr, James Bama, Richard Estes, Robert Maguire, Gene Colan, Joe Bowler, Dan Barry, Basil Gogos.<br /><br />Side note, in Paris Gammell studied under third tier pupils of <a href="http://www.thearttribune.com/The-strange-Monsieur-Merson.html" rel="nofollow">Luc-Olivier Merson</a>. The Russians are 4th rate Sat. Eve. Post painters.<br /><br />Of course there were many more, but thats for you to find. All apologies for any errors of fact and innuendo! As always, accurate additions and informed corrections are welcomely encouraged.अर्जुनhttps://www.blogger.com/profile/14724439749828805512noreply@blogger.comtag:blogger.com,1999:blog-12189014.post-74970834592266021722009-12-28T10:20:29.328-05:002009-12-28T10:20:29.328-05:00awesome blog !!!
beautiful illustrations lovely wo...awesome blog !!!<br />beautiful illustrations lovely work !!!Mr Blachehttps://www.blogger.com/profile/15092560910018010657noreply@blogger.comtag:blogger.com,1999:blog-12189014.post-49486364290543598092009-12-27T14:44:04.055-05:002009-12-27T14:44:04.055-05:00Matthew Adams:
Zzzzzz....
Rob: If I clicked on y...Matthew Adams:<br /><br />Zzzzzz....<br /><br />Rob: If I clicked on your portfolio and saw nothing but the equivalent of Raphael in drawing and Velasquez in painting (or better), it wouldn't magically make the nonsense you post here make sense. Likewise, if I saw totally incompetent work, it wouldn't devalue anything you've ever said that was actually reasonable.<br /><br />You remind me of religious nuts who can't accept wisdom or truth if it's not accompanied by flashy magic tricks. That's the hallmark of an unthinking clod.theory_of_mehttps://www.blogger.com/profile/04330560294467684481noreply@blogger.comtag:blogger.com,1999:blog-12189014.post-15491539245786542962009-12-27T08:30:01.470-05:002009-12-27T08:30:01.470-05:00>>>I wouldn't go as far as Rob and sa...>>>I wouldn't go as far as Rob and say that the Russians and Chinese are such great painters though. There's plenty of the same copycat-ism there too.<<<<br /><br />I didn't mean to imply that, Brian, and i'm sorry if I left you with that impression. What I did try to say was during the great rush to modernism (some of which was milestone work but most was, like most art, mere fashion of the times) the academies in St. Petersburg preserved all of the traditional techniques and approaches. There were lots of reasons for this but the bottom line, it was preserved in amber, just as it was a century before whereas today's ateliers have almost no resemblance and absolutely no connection with the ateliers from which they draw there names.<br /><br />Let's face it, the words <i>atelier</i> trips off the tongue better than <i>gewerbeschule</i>, but what exists today is equally inartistic and unmusical to the ear and eye...if it walks like a gewerbeschule, and quacks like a gewerbeschule, it must be a gewerbeschule.<br /><br />I was simply comparing the copycat abilities of today's battalions of skilled Chinese craftsmen/painters with those of today's atelier grads. Whether it's the Xinchuan School of Pictorial Xerography or the Florence Academy of Xerography, it's all gewerbeschule.<br /><br />While I don't hold art in the same celestial esteem as non-artists and keen amateurs do, I certainly agree that there's more to it than simply copying what's placed in front of you. It's good to remember that the biggest criticism of Caravaggio was that he couldn't paint a convincing figure without using a model.<br /><br />I still hold that drawing from memory is what separates the artists from the copyists.Rob Howardhttps://www.blogger.com/profile/07587811799010051018noreply@blogger.comtag:blogger.com,1999:blog-12189014.post-63770846560282852852009-12-27T08:15:52.279-05:002009-12-27T08:15:52.279-05:00>>Theory Of Me<<<
What absolutely ...>>Theory Of Me<<<<br /><br />What absolutely mystifies me is the attitude I see. Let's say that I will grant that I am a no-talent, venal hack devoid of soul and any good qualities. The part I find mystifying goes against all logic...if I am that low, why have not you and your ilk published books on numerous subjects, has work exhibited in museums and basically been at the same hack level as to be able to make a fulltime living in this profession?<br /><br />The PeeWee Herman line of "I know you are but what am I?" springs to mind along with the statement that sounds like it was aimed at you personally..."I'd like to than all of the little people."<br /><br />As we used to say when playing doctor...I'll show you mine if you show me yours, so here's mine http://artbootcamp.com/robhoward.html<br />Do you have anything to compare? Have you even got enough skin in the game to be able to make a comment?<br /><br />No? Than sit back quietly and know your place in the pecking order puts you at decidedly sub-hack level.Rob Howardhttps://www.blogger.com/profile/07587811799010051018noreply@blogger.comtag:blogger.com,1999:blog-12189014.post-79347839887995279012009-12-27T01:33:58.273-05:002009-12-27T01:33:58.273-05:00weary of thee, Robs (silly?) postering on the top ...weary of thee, Robs (silly?) postering on the top of the dung heap is not half so foul smelling as your personal vendetta against him, and taking pot shots at him from the bottom of the heap is just plain bad strategy. <br /><br />I had never heard of Henry Patrick Raleigh before this. The illustrations you (David) posted certianly show that he is work worth looking at.<br /><br />Completely off topic, I wonder if you have seen the work of Lorenzo Mattotti (I suspect he wouldn't be a favorite for most who visit this blog), and if you have, what you think of his work?Matthew Adamshttps://www.blogger.com/profile/06954050440829792514noreply@blogger.comtag:blogger.com,1999:blog-12189014.post-4712209103206707862009-12-26T21:08:45.197-05:002009-12-26T21:08:45.197-05:00Just curious Rob, but did not Ruben's and Vele...Just curious Rob, but did not Ruben's and Velelazquez etc, have shops with lots of people working for them? They also knew what the subjects of there paintings where going to be and they even knew where the works where going to be place, even at what eye level. Artists like Van Gogh, Monet or Cezanne did everything without a shop or a patron or even knowing if the works would be place on a wall somewhere, and had to decide on what subjects would be best for carrying the ideas they wanted to expressed. One nice thing with about having a patron, a church, a king, a client etc is the artist never has to address the problem of subject; he or she becomes totally free to focus on how the subject will be developed. People get really good at things like sports if they don't have to create the rules of the game first, The game is given and the participants are free to concentrate on developing the best skills without ever facing any existential doubt about what it is they are doing, they just do. I think much of the art making in the 20th century is addressing the question of what is art and a lot of it is pretty good. I don’t think Rubens or a athlete like Michael Jordan would said what deKooning did, “I can see of course in the abstract thinking and all activity is rather desperate.” Who knows maybe they would, but when everyone agrees to what reality is you don’t feel your freedom as much.<br /> As far as speed is concern I read that admittance the French academy was based on a quick drawing,( I don’t know if this is true or not, I read it in Vernon Blake”s The art and Craft of Drawing) which would give the student almost no opportunity hide deficiencies. It's like playing tennis. You can make a pretty quick assessment of someone skills just hitting a few balls with him or her. Once you know what you are doing you quickly proceed to the heart of the matter.Tomhttps://www.blogger.com/profile/04641223414745777056noreply@blogger.comtag:blogger.com,1999:blog-12189014.post-42284240078224332722009-12-26T20:31:28.597-05:002009-12-26T20:31:28.597-05:00This comment has been removed by the author.Tomhttps://www.blogger.com/profile/04641223414745777056noreply@blogger.comtag:blogger.com,1999:blog-12189014.post-32524165921794571512009-12-26T17:31:15.123-05:002009-12-26T17:31:15.123-05:00Boy, there sure are a lot of opinions being stated...Boy, there sure are a lot of opinions being stated as facts here.<br /><br />Did someone in a position of authority state that the purpose of the technical training done at ateliers is to produce "complete" artists who will never need any other kind of training?<br /><br />My opinion, and note that it is an OPINION, is that the pinnacle of art is produced by grand souls with magnificent things to say, who also have extensive technical training and magnificent skill at rendering so that it may be communicated. I don't care how epic your vision is if you can't draw a correct ellipse, properly model lighting factors around a sphere, or control illusion-breaking factors like unrealistic transitions of hue, value and chroma. Likewise, someone with extraordinary technical training without anything interesting to say may produce art that is technically impressive but lacking a powerful emotive message.<br /><br />Personally, I can find beauty even in work that is technically proficient but not terribly deep; that's my bias. Others may appreciate emotive work that lacks technical skill; I don't, as much, but again, that's my bias. But I've never understood the logic of critiquing schools that are attempting to teach pure skills simply because that may be all they teach. That's what was missing from most of the 20th century, in my opinion. No, it's not enough on its own, but it's a simple straw man to critique it for not being complete, without a creditable assertion that it was INTENDED to be complete. And even if such an assertion were found, it could be trivially disputed. Technical training is important and worthwhile. That should be obvious to anyone interested in creating convincing illusions of reality.slinberghttps://www.blogger.com/profile/02628769298413600033noreply@blogger.com