By Mervyn Romans
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Additional info for Histories of Art and Design Education: Collected Essays
As people noticed and saved the images that surrounded them, they found they could not just look at pictures, they developed an appetite for learning to make them. Publishers responded to this interest. Today, looking back, we can see how the proliferation of manuals, cards, and books for drawing instruction paralleled the growth of popular illustrated books and periodicals. Through the first half of the nineteenth century, English drawing manuals were imported, but American variants of these were also printed in vast numbers.
The concern with ‘taste’ in the nineteenth century was not new. 5 The idea of taste as a measure of good judgement was based on neoclassical rules, and it was this meaning and canon of ‘taste’ that came to England by the early eighteenth century. In A Philosophical Inquiry into the Origins of Our Ideas of the Sublime and Beautiful (1757) Edmund Burke laid emphasis on the inherent effect that certain objects have on our senses. The physical sensations generated being either pleasing or not, he suggested, gave rise to ideas of beauty or sublimity.
Butler Williams, C. E. (1843), A Manual for Teaching Model-Drawing from Solid Forms, the Models Founded on Those of M. Dupuis, pp. 237–51. 11. Dyce, W. (1842–43), Drawing Book of the Government School of Design, section II, preceding Exercise 46. 12. , p. i. 13. Cook, E. T. and Wedderburn, A. ) (1903–12), The Works of John Ruskin, v. 15, p. 12. 14. Blackwood’s Edinburgh Magazine, 87 (1860), p. 32; for more on the influence of Ruskin’s ideas, see Carline, R. (1968), Draw They Must, Ch. 8–12; Haslam, R.
Histories of Art and Design Education: Collected Essays by Mervyn Romans