The Laws of Fesolé

Few books I read have the power to change me. When I read an author's work that does, I never forget what is said. This is one book that did just that for me and helped this artist get a better perspective on what needs to go into producing art. I needed to understand the great importance of painting only subjects that I truly love and in doing so, to strive to praise that subject. Ruskin explains that artists always fail because the real thing ... reality ... will always be far superior to the greatest masterpiece on canvas. A perfectionist and arrogant artist who does not comprehend his rightful "place" and human limitations could be driven into the ground trying to do something that is simply impossible. After reading this little book, I felt that it had put the artist in me literally in my rightful place and it gave me a goal for every painting ... which is exacly what I needed. My goal now is realistic; to express what I love to the best of my ability. -- PAD


The Laws of Fésole – All Great Art Is Praise
By John Ruskin*
Principles of Drawing and Painting from the Tuscan Masters
ISBN 1-880559044-7


1. The art of man expresses his rational and disciplined delight in the forms of the laws of Creation of which he is a part.


2. All art is the skillful expression of pleasure in an experience or thing.

For example: A lamb at play, rejoicing in its own life only, is not an artist; but the shepherd, carving the piece of wood expresses in that image (even unconsciously) his pleasure in the laws of time, measure, and order.

3. Unconscious delight in the laws of nature has the capacity to create great art. Art is produced when, by reason and discipline, the artist has become conscious of the ravishment of an image before the artist.

4. Expression and delight in a beautiful or lovely thing is no less attained by sadness of its loss, than gladness of its presence. Art is often tragic or pensive; but all art is praise.

5. All art is praise as a law has no exceptions. If an artist cannot appreciate fully the subject he can never paint a great painting of it.

6. All art is the praise of something that the artist loves. The rank of an artist is determined by the height and breadth of his/her love of the subject.

7. Only that picture is noble which is painted in love of the reality. It is a law that embraces the highest scope of Art.

For example: If an artist desires to draw that the artist may represent something that is loved, advancement will be swift and sure. However, if the artist desires to draw that the artist may make a beautiful drawing, a beautiful drawing will never be made.

8. The best paintings are those that completely represents that object that the artist loves and has undertaken to represent; as the best language is that which most clearly says what the person undertakes to say and so the discussion of respective grace or admirableness of method is closed.

9. If painting is to be entirely good, the materials of it must be the best possible, and the conditions of time and place most favorable.

10. Perfect art perceives and reflects the whole of nature: imperfect art is fastidious, and impertinently prefers and rejects.

For example: The foible of Correggio is grace; Mantegna, precision; Veronese, narrow in gaiety; Tintoret in his gloom; Turner, light.

11. Knowing an artist’s weakness becomes an artist's strength; and the joy of every painter by which he is made narrow, is also the gift by which he is made delightful so long as he is modest in the thought of his distinction from others and no less severe in the indulgence of his proper instincts.

Accepting the artist's place … the artists will find distinctness, glory and use; but not doing so destroys the art in demanding that all men should stand in his compartment, or see through his color.

* John Ruskin (1819-1900) was the most influential art critic of the 19th century. He was artist, scientist and philosopher. Oscar Wilde, one of his students, said of him, "To you the gods gave eloquence such as they have given no other, so that your message might come to us from the fire of passion, and the marvel of music, making the deft to hear and the blind to see." -- from the cover

Assignment - Part 2 (of 4 parts)

Okay this is the 2nd part of a 4-part assignment (August) Assignment from Cennini Forum. Now to understand this Minotaur drawing assignment, you will have to visit the forum and read the "Minotaur Story" at:

http://forums.studioproducts.com/showthread.php?t=28619

A minotaur is a creature from mythology; a creature that is half human - half bull who is placed in a maze to contain the fierce creature. A warrior is sent with a sword and a ball of twine into the labyrinth to kill the minotaur. Part one of the assignment was teaching us how to combine - or morph - two un-related objects into one. On this part of the assignment we are to morph a man and a bull, tell a story, and express emotion.

I doubt if my story makes sense to anyone who hasn't read the myth. I made my minotaur without clothing and lots of hair and flesh. The drawing assignment is suppose to tell a story, express a feeling of depression, sadness, betrayal, entrapment, and impending doom.

I got the idea for the shadow from the forum's posted assignments ... so that was not an original idea however it was a good solution to simply the images. The assignment is also about composition but I think that will come in the final parts.

My attempt is okay but it could be much improved; there are much better solutions on the forum. However, I am learning something new with each assignment, and it is stimulating my thinking.