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the ultimate satisfaction of the finished thing, repays a hundred-fold |
for all your work, your discouragement, when you have to tear Zi
down and rebuild the object, not once, but several times over. Every |
model is built and rebuilt, knocked about and pulled down before:
the final result is accomplished. In modelling you have innumerable
angles to perfect, innumerable ways of looking at the form, but there jy
is a new fascination in every angle, a new opportunity for use of]
colour, and a new problem in design of light and shade. When every,
angle is brought up to the same ‘‘par,” there is the final delight of”
capturing and using the subtle degrees of shade or colour. The last
stage is reached by the ‘‘thumbing,’’ or feeling of the form by the
introduction of the living vibrations. This, indeed, is something
accomplished! The model is finished. Small wonder, then, that we
have a real affection for the completed thing.
Is there no colour in modelling? Think of all the sculpture that is
out of doors, at the mercy of the elements and ever-changing lights.
Are there not all the glorious, gorgeous colours possible in a beau-
tiful piece of statuary well modelled? 7
The object must be so modelled that it can stand up under the test
of every conceivable degree of changing and re-changing light, and
cast beautiful ‘‘telling’’ shades and shadows, in thrilling “living’’
colour designs. q
Beauty of form relating to shadows (colour) seems to me more J
essential in modelling than in painting; where so often technique,
intense colour design or composition are the main theme and motif,
and hold so often the greater place of importance. Still we are asked
that question: ‘‘Don’t you miss colour and warmth in modelling?’)
BEATRICE LENNIE.